**Dance**

Dance generally refers to movement used as a form of expression, social interaction or presented in a spiritual or performance setting.

Dance is also used to describe methods of non-verbal communication (see body language) between humans or animals (bee dance, patterns of behaviour such as a mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical forms or genres.
Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as Folk dance) to virtuoso techniques such as ballet. In sports, gymnastics, figure skating and synchronized swimming are dance disciplines while Martial arts 'kata' are often compared to dances.
Dance can be directly participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story.
Choreography is the art of creating dances, and the person who does this is called a choreographer.


Origins and history of dance
Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or cave painting. It is not possible to say when dance became part of human culture. Dance has certainly been an important part of ceremony, rituals, celebrations and entertainment since before the birth of the earliest human civilizations. Archeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from circa 3300 BC and the Bhimbetka rock-shelter paintings in India.
One of the earliest structured uses of dance may have been in the performance and telling of myths. Before the introduction of written languages, dance was one of the methods of passing these stories down from generation to generation. [1]
Another early use of dance may have been as a precursor to ecstatic trance states in healing rituals. Dance is still used for this purpose by cultures from the Brazilian rainforest to the Kalahari Desert.[2]
Sri Lankan dances goes back to the mythological times of aboriginal yingyang twins and "yakkas" (devils). According to a Sinhalese legend, Kandyan dances originate, 2500 years ago, from a magic ritual that broke the spell on a bewitched king.
Many contemporary dance forms can be traced back to historical, traditional, ceremonial, and ethnic dances.
Dancing and music

Many early forms of music and dance were created and performed together. This paired development has continued through the ages with dance/music forms such as: Jig, Waltz, Tango, Disco, Salsa, Electronica and Hip-Hop. Some musical genres also have a parallel dance form such as Baroque music and Baroque dance whereas others developed separately: Classical music, Classical ballet.
Although dance is often accompanied by music, it can also be presented independently or provide its own accompaniment (tap dance). Dance presented with music may or may not be performed in time to the music depending on the style of dance. Dance performed without music is said to be danced to its own rhythm.

Tango is a social dance form originating in Buenos Aires, Argentina. The musical styles that evolved together with the dance are also known as "tango".

Early tango was known as tango criollo, or simply tango. Today, there are many tango dance styles, including Argentine Tango, Ballroom tango (American and International styles), Finnish tango, Chinese tango, and vintage tangos. The Argentine tango is often regarded as the "authentic" tango since it is closest to that originally danced in Argentina and Uruguay, though other types of tango have developed into mature dances in their own right.

Music and dance elements of tango are popular in activities related to dancing, such as figure skating, synchronized swimming, etc., because of its dramatic feeling and its cultural associations with romance and love.

The dance originated in lower-class districts of Buenos Aires and Montevideo. The music derived from the fusion of music from Europe, the South American Milonga, and African rhythms. Jorge Luis Borges in "El idioma de los argentinos" writes:"Tango belongs to the Rio de la Plata and it is the son of Uruguayan "milonga" and grandson of the "habanera". The word Tango seems to have first been used in connection with the dance in the 1890s. Initially it was just one of the many dances, but it soon became popular throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European immigrants.


Tango postcard, c. 1919
In the early years of the twentieth century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York in the USA, and Finland. In the USA around 1911 the name "Tango" was often applied to dances in a 2/4 or 4/4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played, but at a rather fast tempo. Instructors of the period would sometimes refer to this as a "North American Tango", versus the "Rio de la Plata tango" also called "Argentine Tango". By 1914 more authentic tango stylings were soon developed, along with some variations like Albert Newman's "Minuet" Tango.


In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930 caused Tango to decline. Its fortunes were reversed as tango again became widely fashionable and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s with economic depression and as the military dictatorships banned public gatherings, followed by the popularity of Rock and Roll. The dance lived on in smaller venues until its revival in the 1980s following the opening in Paris of the show Tango Argentino and the Broadway musical Forever Tango.

There are a number of styles of tango:

Argentine Tango
Ballroom Tango, see Ballroom dance
Finnish Tango

[edit] Argentine Tango (Tango Argentino)
Main article: Argentine Tango


The embrace of two Argentine tango dancers
Argentine Tango consists of a variety of styles that developed in different regions and eras of Argentina and Uruguay. The dance developed in response to many cultural elements, such as the crowding of the venue and even the fashions in clothing. The Argentine Tango styles are mostly danced in either open embrace, where lead and follow connect at arms length, or close embrace, where the lead and follow connect chest-to-chest.

Different styles of Argentine Tango are:

Tango Canyengue
Tango Liso
Tango Salon
Tango Orillero
Tango Milonguero (Tango Apilado)
Tango Nuevo
Show Tango (also known as Fantasia).
These are danced to several types of music:

Tango
Vals (the tango version of waltz)
Milonga (a related dance that usually has a faster tempo)
Tango Electronico
"Alternative Tango," i.e. non-tango music appropriated for use in the dance
The "milonguero" style is characterized by a very close embrace, small steps, and syncopated rhythmic footwork. It is based on the petitero or caquero style of the crowded downtown clubs of the '50s.

In contrast, the tango that originated in the family clubs of the suburban neighborhoods (Villa Urquiza/Devoto/Avellaneda etc.) emphasizes long elegant steps, and complex figures. In this case the embrace may be allowed to open briefly, to permit execution of the complicated footwork.

The complex figures of this style became the basis for a theatrical performance style of Tango seen in the touring stage shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops.

A newer style sometimes called "Tango Nuevo" has been popularized in recent years by a younger generation of dancers. The embrace is often quite open and very elastic, permitting the leader to lead a large variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged "alternative Tango" music, in addition to traditional Tango compositions.

Ballroom tango, divided in recent decades into the "International" (English) and "European" styles, has descended from the tango styles that developed when the tango first went abroad to Europe and North America. The dance was simplified, adapted to the preferences of conventional ballroom dancers, and incorporated into the repertoire used in International Ballroom dance competitions. English Tango was first codified in October 1922, when it was proposed that it should only be danced to modern tunes, ideally at 30 bars per minute (i.e. 120 beats per minute - assuming a 4/4 measure).

Subsequently the English Tango evolved mainly as a highly competitive competitive dance, while the American Tango evolved as an unjudged social dance with an emphasis on leading and following skills. This has led to some principal distinctions in basic technique and style. Nevertheless there are quite a few competitions held in the American style, and of course mutual borrowing of technique and dance patterns happens all the time.

Ballroom tangos also use different music and styling from Argentine tangos, with more staccato movements and the characteristic "head snaps". The head snaps are totally foreign to Argentine tango.

The tango spread from the dominant urban dance form to become hugely popular across Finland in the 50's after the wars. The melancholy tone of the music reflects the themes of Finnish folk poetry; Finnish tango is almost always in a minor key.

The tango is danced in very close full upper body contact in a wide and strong frame, and features smooth horizontal movements that are very strong and determined. Dancers are very low, allowing long steps without any up and down movement. Forward steps land heel first, and in backward steps dancers push from the heel. In basic steps, the passing leg moves quickly to rest for a moment close to the grounded leg.

Each year the Tangomarkkinat, or tango festival, draws over 100,000 tangophiles to the central Finnish town of Seinäjoki, which also hosts the Tango Museum. This leads Finns to regard this unlikely provincial town as the "second city of tango" after, of course, Buenos Aires.

Argentine and Ballroom Tango use very different techniques and vocabularies, to the point where some consider them related in name only. In Argentine tango, the body's center moves first, then the feet reach to support it. In ballroom tango the feet move and the whole body weight follows.

Ballroom tango steps are staccato, and generally follow a specific "slow, slow, quick, quick, slow" rhythm. The "slow" steps are best described as 'quick, hold', as the dancer rushes to step and then holds before rushing to the next step. This matches the staccato accents that appear in ballroom tango music.

In Argentine tango, the steps are typically more gliding, but can vary widely in timing, speed, and character, and follow no single specific rhythm. Because the dance is led and followed at the level of individual steps, these variations can occur from one step to the next. This allows the dancers to vary the dance from moment to moment to match the music (which often has both legato and/or staccato elements) and their mood.

The Argentine Tango's frame, called an abrazo or "embrace," is not rigid, but flexibly adjusts to different steps, and may vary from being quite close, to offset in a "V" frame, to open. The Ballroom Tango's frame is more rigid, with the arms tenser and held higher.

There is a closed position as in other types of ballroom dance, but it differs significantly between types of tango. In Argentine Tango, the "close embrace" involves continuous contact at the full upper body, but not the legs. In Ballroom tango, the "close embrace" involves close contact only at the hips and upper thighs, and not the upper torso.

In Argentine Tango, the ball or toe of the foot may be placed first. Alternately, the dancer may take the floor with the entire foot in a cat-like manner. In the International style of Tango, "heel leads" (stepping first onto the heel, then the whole foot) are used for forward steps.

Ballroom tango steps stay close to the floor, while the Argentine Tango includes moves such as the boleo (allowing momentum to carry one's leg into the air) and gancho (hooking one's leg around one's partner's leg or body) in which the feet travel off the ground. Argentine Tango features other vocabulary foreign to ballroom, such as the parada (in which the leader puts his foot against the follower's foot), the arrastre (in which the leader appears to drag or be dragged by the follower's foot), and several kinds of sacada (in which the leader displaces the follower's leg by stepping into her space).

Most other types of tango, such as Finnish and Chinese, are close to the Argentine in their technique and vocabulary.

A waltz (G.: Walzer, It.: Valzer, Fr.: Valse, Cat.: Vals) is a ballroom and folk dance in 3/4 (help•info) time, done primarily in closed position. The most common basic figure of a waltz is a full turn in two measures using three steps per measure.
The waltz first became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. The waltz, and especially its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including many folk and several ballroom dances.
In the 19th century the word primarily indicated that the dance was a turning one; one would "waltz" in the polka to indicate rotating rather than going straight forward without turning.

In the 19th and early 20th century, numerous different forms of waltz existed, including versions done in 2/4 or 6/8 (sauteuse), and 5/4 time (5/4 waltz, half and half).
In the 1910s a form called the "Hesitation Waltz" incorporated Hesitations and was danced to fast music. A Hesitation is basically a halt on the standing foot during the full waltz measure, with the moving foot suspended in the air or slowly dragged. Similar figures (Hesitation Change, Drag Hesitation, Cross Hesitation) is incorporated in the International Standard Waltz syllabus.
• In contemporary ballroom dance, the fast versions of the waltz are called Viennese Waltz.
• International Standard Waltz has only closed figures; that is, the couple never leaves closed position.
• The American Style Waltz, in contrast to the International Standard Waltz, involves breaking contact almost entirely in some figures. For example, the Syncopated Side-by-Side with Spin includes a free spin for both partners. Open rolls are another good example of an open dance figure, in which the secondary partner alternates between the primary partner's left and right sides, with the primary partner's left or right arm (alone) providing the lead.
• The Cross Step Waltz is a newer style of waltz where the first step is a cross-step into the line of directon. This was popularized in classes at Stanford University and allows for a much richer assortment of variations.
• The Peruvian Waltz (Called and recognized in Peru as vals criollo).
• The Mexican Waltz (vals mexicano) follows the same basic rhythmic pattern as the standard waltz, but the melodies reflect a strong Spanish influence.
• Tango vals allows the dancers to dance one, two, three, or no steps to any four beats of waltz music; and to vary the number of steps per bar throughout the song.
• The Venezuelan waltz
• Country Western Waltz is 99% progressive, moving counter clock wise around the dance floor. Both the posture and frame are relaxed, with posture bordering on a slouch. The exaggerated hand and arm gestures of some ballroom styles are not part of this style. Couples may frequently dance in the promenade position, depending on local preferences.
• Mazurka Waltz.
Waltzes were the staple of many American musicals and films, including "Waltz in Swing Time" sung by Fred Astaire.

Classical composers traditionally supplied music for dancing when required, and Schubert's waltzes were written for household dancing, without any pretense at being art music. However, Chopin's 18 waltzes, along with his mazurkas and polonaises, were clearly not intended to be danced to. They marked the adoption of the waltz and other dance forms as serious composition genres.
Other notable contributions to the waltz genre in classical music include 16 by Brahms (originally for piano duet), and Ravel's Valses nobles et sentimentales for piano and La Valse for orchestra

Salsa is usually a partner dance form that corresponds to salsa music. In some forms, it can also appear as a performance dance. The word is the same as the Spanish word salsa meaning sauce, or in this case flavor or style.

According to testimonials from musicologists and historians of music, the name salsa was gradually accepted among dancers throughout various decades. The very first time the word appeared on the radio was a composition by Ignacio Piñeiro, dedicated to an old black man who sold butifarras (a sausage-like product) on Central Road in Matanzas, Cuba. It is a song titled Échale salsita, wherein the major refrain and chorus goes "Salsaaaaa! échale salsita, échale salsita". During the early 1950s, commentator and DJ "bigote" Escalona announced danceables with the title: "the following rhythm contains Salsa". Finally, the Spanish-speaking population of the New York area baptized Celia Cruz as the "Queen of Salsa".

Salsa is danced on music with two bars of four beats. Salsa patterns typically use three steps during each four beats, one beat being skipped. However, this skipped beat is often marked by a shifting of weight from one foot to the other. Typically the music involves complicated percussion rhythms, ranging from slow at about 120 beats per minute to its fastest at around 180 beats per minute (see salsa music for more).

Salsa is a slot or spot dance, i.e., unlike Foxtrot or Samba, in Salsa a couple does not need to travel over the dance floor much (although they could, if there was space and the lead decided to do so), but rather occupies a fixed area on the dance floor.

Salsa music is a fusion of traditional African and Cuban and other Latin-American rhythms that traveled from the islands (Cuba and Puerto Rico) to New York during the migration, somewhere between the 1940s and the 1970s, depending on where one puts the boundary between "real" salsa and its predecessors. Celia Cruz, who has been hailed by many as the queen of salsa before she died said that salsa doesn't exist as a rhythm, she said it was only an exclamation for music such as guaracha, bolero, cha cha cha, danzon, son, rumba etc. The famous Latin composer and musician Tito Puente also argued that there is no such thing as salsa but only mambo, rumba, danzon and cha cha cha...etc. There is debate as to whether Salsa originated in Cuba or Puerto Rico. Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide. The dance steps currently being danced to salsa music come from the Cuban son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changuí, Palo Monte, Rumba, Abakuá, Comparsa and some times even Mozambique. It also integrates swing dances. There are no strict rules of how salsa should be danced, although one can distinguish a number of styles, which are discussed below.

There are many classes that help students to Learn Salsa in the Los Angeles area, a great dance school is a world known outfit called "LearnSalsa.com" [1]. Also, the reason there are no strict rules as to how you dance salsa is because it is a made up dance, an improvised dance to music which is often misunderstood. Salsa can be whatever the interpreter wishes it to be. The choreographer may listen to some music which is defined as salsa and will improvise the steps that come to mind. Salsa has elements of Jazz, funk, reggae, hip-hop and even samba. If it didn't exist someone would have to invent it.

The basic movement occurring in the dance patterns of the various salsa styles is the stepping on the beat of the music. Salsa is best grouped in pairs of 4-beat patterns counted "1-2-3-...-5-6-7-...". The leader starts on count 1 by stepping with the left foot. On count 2 and 3, they step with right and left, respectively. On count 4, the lead pauses or makes an optional tap with the right foot. On counts 5, 6, and 7, they step with right, left, and right, respectively, again followed by a pause on count 8. As a standard, every step must be taken with full weight transfer. The follower part is identical, but shifted by 4 beats, so that as the leader's left foot steps forward, the follower's right foot steps back. In most styles, the leader starts with the left foot and the follower starts with the right foot regardless of the pattern about to be danced.

The term "basic step" normally refers to a forward-backward motion. On counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.

The following variants of the Basic step may be used, often called breaks.

Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7.
Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7.
Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7

Underarm Turn (or Outside Turn) – similar to the "arch turn" in swing and many other dances, follower turns clockwise
Inside Turn – follower turns counterclockwise (to her left)
Leader Turn – lead turns right, often the partners separate
Spot Turn – either, or often both, partners turn 360° CCW remaining in the same spot
Open Break – a variant of the "side break" basic, similar to "promenade breaks" in Rumba, etc.
Cross Body Lead – follower is led to opposite side of lead, exists in other Latin dances such as Cha-cha-cha
Cross Body Lead (Casino Rueda) – couple in embrace essentially rotates 180° CCW as a whole, swapping positions
Enchufla – a kind of arch turn where the couple rotates CW as a whole, often followed by a cross-body lead
Basket – A variation of an enchufla where the leader keeps a hold of both hands keeping his right hand low ending up in a "cuddle" with the follower
Windmill – Another variation of an enchufla where the leader leads with both hands instead of just the left hand

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Salsa danced according to the above description is called Salsa on One, or briefly, "On One", because the break step is on beat 1 of the 8-beat pattern. This is by far the most common count used in Europe and North America.

If the break step occurs on count 2 or 6, it is called "On Two". There are two main variants of this:

The "Power 2", "Palladium 2" or "Ballroom Mambo" style. The Power 2 basic is simply the On One basic danced one beat later.
"New York Style 2" or "Eddie Torres Style". The ET2 basic step starts on beat 6 with the leader breaking forward on the left foot, replacing on 7, and pausing on 8. Then on 1 the left foot steps slightly back, ready for the break step back on the right on 2, and the left replacing on 3. 4 is a pause and 5 is the right foot stepping slightly forwards ready to begin again at 6.
"Puerto-Rican 2". This is exactly like the Eddie Torres 2 except that the leader breaks forward on 2, not 6.
Eddie Torres Style is so called because it was widely formalized and popularized by Eddie Torres whose clear teaching style and production of instructional videos opened up access to Salsa for many New Yorkers. It is not claimed that he invented the style.

Some consider dancing "On Two" to work more closely to the clave rhythm, the fundamental rhythm of salsa music.

Dancing on 2 means that the break step synchronises with the accented slap of the tumbao pattern played on the conga drum. For this reason it is said to be more punchy and rhythmically oriented, whereas on 1 is more melodically oriented.

There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced "On One" or one style may be danced "On One" or "On Two". The following are brief descriptions of major "recognizable" styles.

Cuban style
Los Angeles style
New York style or Eddie Torres style
Power 2 / Palladium 2 / Ballroom Mambo
On Clave
Puerto Rican style
Rueda style
Salsa Styling
Shines

Cuban style

Cuban-style salsa can be danced either "on one" or "a contratiempo" – the latter is often referred to as "on two". An essential element is the "cuba step" (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. The follower does the same, thereby mirroring the leader's movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other.

The cross body lead is an essential step in this style too and is referred to as Dile que no. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller

Los Angeles style
Developed in recent years (some say between 1999 and 2002), this is a style of salsa much influenced by Hollywood and by the swing & mambo dances, thus being the most flashy style, which is considered "more show than dance" by many. The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions.

Francisco Vazquez, along with his two brothers, Luis and Johnny, are often credited with developing the LA style of salsa. Francisco taught both of his brothers how to dance and all of them went on to become famous worldwide through their unique style of dancing. Francisco Vazquez, along with his brother Johnny, founded "Los Rumberos" Dance Company at the start of their career, which is still the leading dance company in Los Angeles. Luis Vazquez, along with then Joby Vazquez (now Joby Martinez) founded Salsa Brava Dance Company, which was another leading dance company in Los Angeles for many years.

Other people who also helped create L.A. Style as we know it are, Rogelio Moreno, Alex Da Silva, Joby Martinez, Liz Lira, Josie Neglia, Abel Pena and many others. Tony Cordero and Robert Menache helped spread the influence of the LA style to Long Beach and Orange County.

The reasons why L.A. Style of salsa is so well-known around the world are widely disputed. But what has helped largely has been the broadcast of competition video clips from the Mayan World Salsa Championships on the Club Mayan website. Every year, competitors from many parts of the United States and the world come together to challenge each other in this competition. Before moving to Europe, Johnny Vazquez was the reigning king of the Mayan competitions; he was practically unbeatable as he surpassed all other competitors with his skilled dancing and precise spins. Since then, however, the results of the competition have not been endorsed by many and the competition has lost validity, but it remains, nonetheless, one of the biggest competitions in the world.

New York style or Eddie Torres style
The "NY Style" is a combination of the "On 1" and "On 2" systems. The timing of the steps are on the 1-2-3,5-6-7 as in "On 1" but the breaks (where the body changes direction) occur on the 2 and 6 as in "On 2". NY instructor Eddie Torres developed this step pattern around the late '70s and the '80s, and its definition is quite clear as he is still alive and his followers are keen to keep the style intact. This is their description of the step: Description of "On Two" on salsanewyork.com There are many "socials" in NYC or nightclubs that dedicate on playing only mambo or salsa.

The style has proliferated around the world to places like Japan, Korea, India, Israel, Germany, Holland, Canada, Hawaii, Poland, Romania, UK, Curacao, and more.

Leaders in the On2 style are Eddie Torres, Frankie Martinez, BASo, Seaon Bristol, Magna Gopal, Shaka G. Brown, Ismael Otero, among others.

New York style or Eddie Torres style

The "NY Style" is a combination of the "On 1" and "On 2" systems. The timing of the steps are on the 1-2-3,5-6-7 as in "On 1" but the breaks (where the body changes direction) occur on the 2 and 6 as in "On 2". NY instructor Eddie Torres developed this step pattern around the late '70s and the '80s, and its definition is quite clear as he is still alive and his followers are keen to keep the style intact. This is their description of the step: Description of "On Two" on salsanewyork.com There are many "socials" in NYC or nightclubs that dedicate on playing only mambo or salsa.

The style has proliferated around the world to places like Japan, Korea, India, Israel, Germany, Holland, Canada, Hawaii, Poland, Romania, UK, Curacao, and more.

Leaders in the On2 style are Eddie Torres, Frankie Martinez, BASo, Seaon Bristol, Magna Gopal, Shaka G. Brown, Ismael Otero, among others.

Power 2 / Palladium 2 / Ballroom Mambo

This style is similar to Los-Angeles style, but it is danced "On Two". The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6.

It is important to note that although this style is also known as dancing "En Clave", the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure.

On Clave
This does indeed follow the 2-3 or 3-2 pattern of the clave, e.g. for the 2-3 clave the leader steps forward with the left on 2 and with the right on 3, then does the other 4 steps of the basic on 5-8 (syncronizing with the clave on 5 and 8). It's a traditional form and it's less known/used outside some countries.

Puerto Rican style
This style can be danced as "On One" or "On Two". If danced as "On Two", it is always danced on count 2, and not on count 6 as in Ladies-style NY. There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform.

Rueda style
Rueda de Casino. In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. In the Philippines 2005, a growing interest among young Filipinos led to a fusion of salsa and community dance, later called Ronda de Salsa, a dance similar to Rueda but with salsa dance moves that were choreographed locally and in Filipino names. Among the popular calls in Ronda were: Gising, Pule, Patria, Dolorosa, Lakambini and La Antonio.Salsapower Editorial: Ronda de Salsa

Salsa Styling
Incorporating styling techniques into any style of salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. There are lessons dedicated to the art of salsa stylin'. Hip hop, jazz, flamenco, belly dancing, ballroom, breakdancing/pop and rock, Afro Cuban styles, and bhangra have all be infused into the art of styling. You can take dance lessons to learn all these different types of dances.

Shines
Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate. They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their "moment to shine". On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called 'shines'.

Classical Greek mythology
In a classical Greek song, Apollo, one of the twelve greater gods, the son of Zeus the chief god, and the god of medicine, music, and poetry, was called The Dancer. In a Greek line Zeus himself is represented as dancing. In Sparta, a province of ancient Greece, the law compelled parents to exercise their children in dancing from the age of five years. They were led by grown men, and sang hymns and songs as they danced. In very early times a Greek chorus, consisting of the whole population of the city, would meet in the market-place to offer up thanksgivings to the god of the country. Their jubilees were always attended with hymn-singing and dancing.


Dance in Holy Scriptures and Religious Communities
Dance has been used throught the ages as an emotional response. The Christian bible at times has condemned the reason for a particular dance (lust, greed, deception etc.); however, it does not condemn dancing itself. It is a matter of fact that the bible says there is a time to dance, refer to Ecclessiastes 3:4

zor sepas asalbano

A Time to Dance:
Ecclessiastes 3:4
Social Dance in celebration of what God has done:
Exodus 15:20; Judges 21:21 - 23 (Caution: the behavior of the men as portrayed in this last reference is illegal in civilized countries today)
In celebration before the Lord:
2 Samuel 6:14-16; 1 Chronicles 15:29
Social dancing in celebration of a god:
Exodus 32:19; 1 Kings 18:26 (The act of celebrating a false god is condemned here)
A child's dance:
Judges 11:34; Job 21:11
Celebraton of warriors:
1 Samuel 18:6-7; 1 Samuel 21:11; 1 Samuel 29:5;
As an expression of happiness:
Psalm 30:11; Lamentations 5:15;
In Worship to the Lord:
Psalm 149:3; Psalm 150:4
Social Dance with Friends:
Luke 15:25; Jeremiah 31:4; Jeremiah 31:13
It's not favorable to be like those who do not dance:
Matthew 11:17
A Lovers Dance:
Song of Solomon 6:13
For the king:
Matthew 14:6 and Mark 6:22 (The reasons for this referenced dance is condemned throughout the bible; however, the dance itself is not. It includes greed and lust)

From a Hindu point of view, the whole Universe is being brought into existence as the manifestation of the dance of the Supreme Dancer, [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] . In the Hindu scriptures, every god has his or her own style ( [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] and [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] respectively represent two aspects of dance) we read about 23 celestial beings called [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] who dance to please the gods and express the supreme truths in the magic of movement.
The dance in the Hinduism used to be a part of a sacred temple ritual, especially in South and Eastern India, where the female priestesses [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] 's worshiped different aspects of the Divine through the elaborate language of mime and gestures. [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] is the most ancient and the most elaborate scripture describing every element and aspect of this sacred art-worship.
The temple dance gradually evolved into what is known today as the South Indian Classical Dance that still preserves many ritualistic elements of Hinduism. Some of the [ برای مشاهده لینک ، با نام کاربری خود وارد شوید یا ثبت نام کنید ] are believed to be incarnations of apsaras.