Casino Moves in One-On-One Salsa & Special Workshops

Click here for info on using Casino moves in one-on-one salsa dancing
Click here for a workshop on "Play in Salsa Dancing" by Erin Brandt
Click here for info on Bachata Rueda Workshop

CASINO MOVES USED IN ONE ON ONE SALSA DANCING

When dancers learn Casino Rueda moves, they become very versatile dancers because these steps are adaptable for “one on one” Salsa as well. They can be danced in the Rueda circle or in partnership Salsa at a club. And the moves look very sharp in my opinion.

Generally, there are two ways that Casino style moves begin. ("Casino" is the name of the style of moves that are used in a Rueda circle. These moves can be done in partnership or in a Rueda.)   Let us assume that in a Rueda, the basic step involves leaders and followers both rocking back and then both rocking forward. Partners move into some steps after the leader and follower both do their backrock. Another way to begin some moves when dancing in a circle is from a tap on the eighth beat. Actually, there are many styles of the basic step in a Rueda circle, so the above rule of thumb may not always apply. Some groups don’t do taps at all, and some don’t do the basic with leaders and followers moving towards and then away from each other. But this is the most common approach that I’ve seen. So I will discuss how Casino moves can be adapted for partnership Salsa based on the assumption that the moves are being done as described above. If a move begins from the leader’s and follower’s backrock, then that can easily be mimicked in one on one dancing by having the man rock back twice in a row. In other words, instead of alternately rocking forward and then back, the leader does two successive backrocks. On the second of these, the lady will be rocking back as well. So the leader and follower are in the standard position from which moves begin in guapea (in a Rueda circle). From this point, they do the move and at the end, they remain dancing together (rather than changing partners).

Above: Tom Bui and Rebecca Smith thrill the audience with their Salsa demonstration

If the move wouldn’t involve an automatic partner exchange in a Rueda circle, then they simply resume the Salsa basic at the end of the move. To do this, the leader rocks forward for the first part of the basic step (rather than backward as he would in Rueda). If on the other hand, the move involves an automatic partner exchange (e.g. adios, enchufla, etc.), then the move is altered a bit so the partners can stay together. Rather than traveling to a new partner, the leader can simply rock into the center while the lady rocks back. Then they do a cross body lead to get back into basic with the same partner.

The other manner of entering a Casino style move is a bit more difficult to adapt for one on one dancing, but it can be done with practice. If you are accustomed to tapping on the eighth beat to start moves such as sombrero, balsero, beso, setenta, etc., then you will want to approximate a tap when dancing with your one on one partner. You (leaders) can simulate the rueda tap by doing a cross body lead and giving your partner a strong lead to make them tap. Then go into the move. The ending would be the same as described above.

Followers who aren’t accustomed to Casino style Salsa may not do the tap easily. But note that if you find this to be a problem it is possible to do all of the moves without ever tapping. You just go into the “body” of the move and eliminate the tap. The tap isn’t part of the move and isn’t really essential. In fact, some groups don’t ever do a tap on the eighth beat, which proves that it is possible to them them that way!!  (For a discussion of the role of taps in Cuban versus Miami styles of Casino Rueda, you can click here to visit the page on this site that covers different styles of Salsa.)

When dancers know Casino Rueda moves, then they can be blended, creating a nice sequence of dance movement. One move just flows into the next. Sometimes this requires small adjustments such a lopping off 8 beats here or there. Likewise, components can be added to moves to enrich and lengthen them. For example, balsero into Montana into an exhibe and then beso makes a nice sequence. Likewise, ending that or other combinations of moves with a coca cola turn (or adding a turn elsewhere) also creates a nice danceable sequence. For information on ganging moves and some nice "suggested sequences," see the page on Ganging Moves on this website.

In Florida, where Casino Rueda is very popular, dancers generally learn Salsa through these moves, and the club dancing has a distinctly Casino character. Personally, I think it looks smooth but intricate.  Click here for a video of one on one dancing using mostly Casino-Rueda style Salsa moves.  I think you'll agree this is a sharp looking approach to Salsa dancing.

But there is another, subtle advantage to learning Salsa through Casino Rueda moves. It has to do with what an individual can learn in a given amount of class time. Essentially, instruction in Casino Rueda is a learning theorist’s dream. Classes in this dance are designed perfectly for long-range retention of complicated material. Learning theory experiments have shown that the most efficient way to memorize something is from many short segments of practice and drill. In a Rueda class, moves are explained in some detail and then danced in the circle, interspersed with other steps. Over time, in the course of many class sessions, the moves become committed to memory.

It is my belief that hour for hour, students will come out with a greater “vocabulary” of moves and those moves will be lengthier and more complex than they would have learned in an equivalent Salsa class. This is because there is a concrete set of moves that gets reviewed constantly and can be blended and permuted (combined and recombined) with other moves in many different ways. In a typical Salsa class, one is more likely to cover just a few moves in one hour. Rueda circles are relentless in doing many, many moves over and over as the music pounds away.

In addition, since the Rueda moves are the same week after week, people become proficient at them rather quickly and therefore can progress to longer/more complicated steps. Rueda classes will at least review (if not teach) many moves in every session, helping commit them to memory.  But since the syllabus in a standard Salsa class isn’t as standardized, the moves that are learned may not be reviewed in exactly the same form in future. Certainly four months later, the specific moves one learned might be forgotten or not done in exactly the same way. But the Rueda moves will be reviewed much the same way even a year down the line. So the Rueda moves tend to become very ingrained in the dancers’ minds and bodies through constant repetition.

Another thing that makes the Casino Rueda moves useful for one on one dancing is ganging the moves.  Experienced Rueda dancers don't think of the moves as fixed segments that require you to return to basic afterwards.  When dancing in partnership, you can chop Rueda moves off before they are done and move into other steps at will. It's not difficult ultimately to dance with very few basic steps, which makes the dance very interesting. 

The page on this website titled "Sequences for ganging moves" is useful to read.  It has many sequences suggested that make a beautiful and comfortable series of moves. In fact, these moves really becomes instead, a beautiful chain of ongoing movement.  Moves that are ganged create a long, beautiful Salsa dance segment for a couple. In that sense, going to the most advanced levels of Casino style dancing where students are learning to gang moves, trains people to be excellent and sharp one on one dancers.

There is no doubt that learning Casino Rueda moves is an effective way to become proficient at partnership Salsa as well. The constant drill and repetition inherent in a Rueda circle enables students to learn moves fairly quickly.  So when a student asks me about the difference between Casino Rueda and one on one Salsa, I tell them that Rueda instruction is a great way to become very competent at moves that are usable in one on one dancing.

PLAY IN SALSA DANCING: A WORKSHOP BY ERIN BRANDT

On April 29, 06, my class had the pleasure of welcoming Erin Brandt, a NYC Salsa teacher, to do a unique workshop on how to "Play" while dancing. Erin specializes in embellishing moves and adding taps, touches, body rolls, and other playful interactions with her partner while doing either one on one Salsa or Casino Rueda.

I had met Erin some time ago and seen her dance in her remarkably unique style. I will never forget what she said to me the first day we met after I watched her dance. She commented, "As a dancer, I usually have one hand free. So I surprise my partner by tapping him when he least expects it."

Indeed, she is full of surprises. In a Rueda circle, Erin turns around and taps the dancer "behind" her a couple of times (on the back, ankle, or shoulder etc.) when they are least expecting it---without losing the flow of the move she is doing. She moves with such speed and agility, not to mention grace, that it's amazing to watch. I have never seen anyone do a lot of the maneuvers Erin does---they are truly her own!

It would be easy to confuse Erin's specialty with "ladies styling" since both involve embellishments of Salsa moves. But the two are quite different. Ladies' styling involves coquettish movements that are meant to be sexy. They are a way of drawing attention to oneself and saying that the dancer considers herself appealing. But Erin's approach is more in the "interpersonal domain." She interacts in unexpected ways---by joking with, teasing, and playing with her partner. Erin is at once playful and companionable. She engages her partner in "play" without the self-conscious, self-aware quality of most ladies' styling.

I have to say that this hits home to me. I've danced Salsa for years and still don't really feel comfortable with a lot of ladies' styling. But I'm playful by nature, and anything that is funny, or a fun interaction, feels very natural to me. So I immediately loved watching Erin dance, and was interested in learning more about her unusual style.

We arranged for her to teach in my class and she described to me the workshop she would do as follows. She would start with the feet and move up the body (to legs, hips, etc.) showing ways to alter and add to standard moves. By the end, she was blending these embellishments using multiple parts of her body. And of course, she addressed both leads and follows.

I have some of her material below with video clips to give the reader snapshot views of what Erin did with the class. In addition to the class workshop, she coached one of my teams, adding movement and enriching some of the steps that they were doing. Everyone loved working with her and looking at dance from this unusual vantage point.

Video clips of Erin's Workshop on Play:

(Note the last two parts below show Erin Brandt dancing with Joel Rodriguez as she illustrated how she engages a partner in playful maneuvers.  We didn't see Joel complaining, I might add; and he responded playfully himself!!)

Click here for Part 1

Click here for Part 2

Click here for Part 3

Click here for Part 4

Click here for Part 5

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See below to read a letter that one student wrote to me right after the workshop. I think that says it all.

"Oh my God Barb!!! The Saturday class was AWESOME!!! And Erin is a great dancer/teacher. The next time she comes here, put me down for an 1 lesson with her (my head was spinning with all the moves driving home)."

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Note to readers: Erin Brandt has a background in movement analysis and physical training. She teaches private dance lessons and her email is: erintherapy@gmail.com. She currently lives in NYC, but in August, 2006, she is moving to the Bay area (California). Readers are welcome to contact Erin about lessons!