Barb's Helpful Tips for Rueda Dancing

DON'T BOUNCE YOUR STEPS WHEN YOU DO LATIN DANCING

You don't want to bounce the steps in Casino Rueda, or any Latin dance. The knees remain a little bent throughout, so that the steps can be "softened." Your head should stay at the same level so that the movement looks smooth.  Salsa dancing is fluid and smooth; dancers express their feeling for the pulse of the music with hip and body movement rather than by bouncing from the knees.

KEEP YOUR WEIGHT OVER YOUR FEET, NOT THROWN BACK

Keep your weight over your center; don't throw it back when you do back rocks. Throwing your weight back slows you up in getting to the next step. For example, when the guys are moving to their partners and ladies are doing a back rock, you may want to think of that more like stepping in place to be sure it's not too big a step backwards.

WATCH OTHERS AND TRY TO SYNCHRONIZE YOUR MOVES WITH THEIRS Remember to watch the other experienced dancers and match their moves so you are in synchrony with them. Mimicking others is a useful technique in this dance, but not everyone thinks to do it. KEEP YOUR EYES ON THE CALLER AND LISTEN FOR THE CALLS Listen to and watch the caller so you don't miss a call. That is the responsibility of every dancer in the circle. In fact, I suggest that dancers get in the habit of echoing the caller's calls---literally shouting it out the move right after the caller does. This is an idea I got from a friend who teaches Rueda in Richmond. They do this routinely, and it's very helpful in clubs where calls are hard to hear. KEEP THE CIRCLE CIRCULAR AND TIGHT! Pay attention to keeping the circle tight and circular. That is also everyone's responsibility. You want to stay fairly close to the perimeter of the circle on steps where it's easy to pull away. The circle's integrity is better maintained that way. STAY CLOSE TO YOUR PARTNER Both partners generally should keep enough tension in their arms so the elbows stay bent, forcing the couple to stay fairly close. If partners extend their arms fully, they get too far from each other and leading is compromised.

Above: Barb calls a Rueda move

GUYS, DON'T PULL BACK AND TO THE LEFT EARLY ON THE CBL

In every step that ends with a CBL (such as dame una and countless others), guys need to be sure they are right next to the lady until beat 5 which is when the CBL begins. If he is back a little from her, or too far to her left while she faces the center, he will tug on her arms uncomfortably. Many leaders start to turn to their left early----on beat three, or they step back and to the left with their left foot on that beat. They are anticipating their movement to the left and the lady's movement too. But that should not occur until beat five. On beats one, two and three, the guy should stay right next to her and face the center or turn towards her slightly.

Then on beat five, the leader steps back to get out of the lady's way and she turns part way toward him as they initiate the CBL. The leader's movement to the left is comfortable at that point since she's no longer facing the center.

KEEP YOUR FEET MOVING IN THE QUICK QUICK SLOW RHYTHM, EVEN IF YOU'RE "STAYING IN PLACE"

Ladies, let me tell you what it feels like to be a leader and come to pick up a new partner who is standing still, not moving her feet at all. It feels like the lady has stopped dancing and it's unsatisfying. Followers should keep their feet moving, even if they aren't "going anywhere," so they look and feel like they're actually dancing!

This applies to all steps where either leaders or followers stay in place. The group spirit of a Rueda circle is augmented by having everyone move in the same rhythm. So even if you don't have to take a step to move or turn, keep the feet going. This also helps ensure you'll know which foot to step on when you do need to move!

HOW MUCH LEAD IS TOO MUCH LEAD?---THE ETERNAL QUESTION

There is a lot of variance in how forcefully guys lead. Likewise there is a lot of variance in how much lead ladies prefer. There is no one correct answer to the question of how much lead is too much. People will judge that differently.

My outlook on the matter is that I prefer as much lead as needed for clarity and no more. Consider this a sort of "economy of lead" principle. If you start the lady in motion and her momentum will continue her where you want her to go, for example, there is no need to push the entire time she moves along. That doesn't mean you don't provide contact so she can feel some guidance.  But force really isn't needed to get her to go somewhere she's going to go anyway!

Or if you are doing a turn or alarde, there is no need to raise the lady's arm very high over her head. You just need to clear her head. To raise the arm high, the lead has to be more forceful. So you can keep the lead gentle by moving the arm only as high as needed. It takes a greater level of sophistication as a dancer to lead effectively but still be gentle. It's much easier to lead with force.

There is one more notable point regarding strength of lead I'd like to make. If someone has too little lead, they'll find out. The lady won't know what to do so it's obvious she needs a firmer hand. This is especially true in one on one dancing. But even in Rueda, there usually are some ladies don't know the move cold and rely on a lead. But if your lead is extremely strong, you don't get feedback on that as readily. Everyone you dance with will follow just fine. So if you value a gentle lead, this is something to bear in mind.

FRAME AND TENSION TO MAKE LEADING AND FOLLOWING POSSIBLE

Following a lead properly requires some basic understanding of frame and tension.  This is something people develop over time and experience.  When women who aren't experienced dancers first try a turn, they often let their arm move back but don't move their bodies, as their partner tries to lead them. 

I have seen a number of interesting ways to explain the concept of frame that women need in order to respond to a lead.  One is that ladies must keep be able to see their right arm out of the corner of their eye. So the arm never goes behind their head. 

Another unique way to explain this was shared with me by a great dancer and good friend, Melinda Turner. She said she was once in a class where the teacher passed out tennis balls to all the ladies. They were all told them to put the ball under their right armpit and dance without letting it fall.  So when the lady was turned to the right by pressure on her right hand, she had to hold a rigid frame and move her arm and body too, or the ball would fall.  Melinda said, interestingly enough, that after the ladies tried this once, from then on the balls weren't needed.  They could imagine that the ball was there and try "not to let it fall."

I've never quite had the nerve to bring tennis balls to class, though I think this is an outstanding way to convey the concept of frame.  But I have found that even just describing this in words from the beginning, and asking the ladies to imagine a ball is under their arm, is enough to get the concept across.

TIPS FOR SPECIFIC RUEDA MOVES

DAME UNA

To do this step, on beats 5, 6, and 7 leaders go forward on their right foot, then back on their left (as in the basic) and then on beat 7 they step onto their right foot and turn to face the center of the circle.  Then on beats 1, 2, and 3 leaders move to their new partner stepping on the left, then right and then left foot respectively. Then they initiate a Cross Body Lead which occurs on beats 5, 6, and 7. 

Ladies meanwhile step forward with their left foot, back on their right, and face the center with a step onto their left foot on beats 5, 6, and 7.  Then they step in place for the next three steps, or do a very small back rock (but they don't throw their weight back) while the leaders are moving to their new partners (on beats 1, 2, and 3).  They raise their arms so the leader can put his hand around their waist. 

And then the ladies are led into the CBL on beats 5, 6, and 7.  Ladies do the CBL by stepping first with their left foot and moving in a straight line across the man's body to get back into the position for the basic step (guapea).  Sometimes ladies turn to face the leader too early on the CBL. (The result of this is that they wind up backing up to get into position for guapea.) Followers should take the first two steps of the CBL before turning to face their new partner.

It is also important for ladies not to come across for the cross body lead until beat five. (If you are doing Dame una, that is when I say the word "cross" as I talk through the move.) Beginners sometimes have some trouble with this, but it's important for the synchrony of the dance.

Also remember to face the center, ladies, while waiting for the guy to pick you up. And have your left arm up so it's out of the leader's way and he can easily slide his arm around your back.

Guys should all move at the same time as they travel to their next partner. If you're not sure of the timing, watch others who are experienced and move when they do.

FLY / HIGH 5 / HIGH 10 / BESITOS / LOW BALL

These steps are simple moves that are great to help teach the rhythm of the dance.  They all occur on beat 1.  Leaders turn to their right and face the lady behind them do clap or kiss or do a high 5/10.  Followers turn to their left and face the leader behind her to do the move.  Then everyone comes back to the basic by turning back on beat two and resuming the usual step pattern on beat 3.

DAME DOS

Dame dos is conceptually and rhythmically identical to Dame una. But Dame dos is an exception to the "take small steps" rule. Leaders move to their new partner with a big step on their left foot (that is almost a lunge) on beat one. Note that guys get most of the way to their partner on that one step. They should be comfortably next to her and facing the center before doing the CBL.

ENCHUFLA

An issue in doing/learning this step is that you need to do the turn in one beat. Beginners often turn slowly instead of sharply in a single beat. That puts them behind for the remainder of the move.

ADIOS

On beat 3, you get into what is essentially a ballroom back-spot turn position. Gentlemen should provide a firm but comfortable frame for the ladies on that beat which helps the partners move gracefully through the turn. This is not a common position in Rueda, but it's one that feels very nice when done properly.

PA TI PA MI

This step is conceptually simple---it's just three enchuflas. But it's a surprisingly beautiful move, given its simplicity. It's also surprisingly tricky to do well.

The main difficulty is that you have to move through each of the enchuflas quickly (turning in one beat) to be ready for the next one. I find that if dancers lower their arms after each enchufla and then they raise their arms again to do the next one, it helps mark the rhythm. And to further help, if anyone is having trouble, I say "down" on the beat when the arms come down. Then everyone has a sense of doing the turn in the four beats allotted, as I say "down" every four beats.

I highly recommend this step for demonstrations and performances by the way.
I once did a show with mostly early intermediate level steps like dedo, sombrero de manny, cadaneta, etc. When I watched the video, pa ti pa mi was one of the nicest looking steps even though it was one of the simplest. And I've heard others say the same thing.

ADIOS CON LA HERMANA

This has the same issues as adios and pa ti pa mi! See above.

EVELIN AND FLAMENCO

These steps start like adios.  But almost as soon as the adios turn is initiated, the leader must start to break the lady's movement.  It is unusual to start a move and stop it so quickly, but if that isn't done, the lady may turn too far.  So be ready to lead a turn and put the brakes on almost as soon as it was begun!  In Flamenco, in addition to the guy's turn at the end of evelin, he also leads the lady in an exhibe.  To lead an exhibe, the man should face the lady squarely and she is facing in to the circle.  So they are at a 90 degree angle to each other.

Sometimes ladies make the mistake on an exhibe of turning in place.  Instead, they should step forward on their left (heading right toward the center of the circle) but leave the right foot in place.  They pivot on the left foot, turning 180 degrees so they face outside the circle. Then they step on their right foot which was left at the perimeter of the circle, and pivot 180 degrees on that foot as well.  So they are now facing the center of the circle again. Then they close their left foot to their right foot and the exhibe turn is done.  Then depending on the move, the lady often steps on her right foot, outside the circle.  Then she steps left and then right at the circumference of the circle. (While the lady steps into the circle, the man steps outside of it and vice versa.)

KENTUCKY

In Kentucky, it is commonplace for guys to be facing a little to the lady's left, and to be back a little too far from her after the turn. They need to keep in mind where they should wind up and force themselves into that position at the end of the turn.  If they are too far off from the proper position at the circumference and right next to their partner, then the lady's arms are tugged and the CBL at the end is awkward.

EL UNO AND/OR EL DOS

On uno and dos, remember that both partners are doing diagonal back rocks (like cumbia steps). No one is doing a forward rock. (I often see students rocking forward on this step by mistake.)

Also, I think it's best for beginners to face the center on those steps, and for their steps to be small. (Some dancers like to make eye contact or flirt on these steps. But it can be awkward to turn and face each other during the back rocks. I'd suggest leaving the flirting for after you have more experience with the step because turning to face your partner can throw you off.) Also, if the guy takes large, enthusiastic steps, it can tug on the lady's arms. So it's best for the leader not to rock too far side to side. A lady's arms are most comfortable relatively low and by her side.

VARIOUS STEPS THAT BEGIN WITH THE TAP ON THE 8TH BEAT

That one little tap really throws a lot of people. Sometimes, it especially throws experienced Salsa dancers because they've spent so much time stepping only on beats 1, 2, 3, 5, 6, and 7. If you've done something countless times a certain way, it can be hard to change even if it's a simple change. Practice will cure that problem, of course.

But here are a few pointers on the tap itself. Your knee should be bent. It takes too long and is awkward to straighten the knee out and then tap. It will be hard to get to the next step in time. And don't put a lot of weight on the tapped foot. It has a little weight, but you step onto that foot with your full weight on the next beat, beat one. 

What is important is stepping right on the beats, and this requires good technique or it's hard to do that quickly.  That is why the knee bend and foot placement are important!  If you are off on the timing of the "5, 6, 7, tap," then it tends to throw the rest of the step off. (It's a hard thing to recover from.)  So plan to practice these tap introductions until they are natural.

SIETE / SIETE MODERNO / SIETE LOCO

On siete, how far the lady turns in is a matter of taste or preference. But if you are first learning, I suggest a shallow turn of 180 degrees, from facing into the circle to facing out of it. If you roll further than that, unrolling from such a tight pose can be strained in the time you have. Once you have a lot of experience with the step, you can roll it as far as you like. I just suggest this because I've seen so many people have trouble unwinding in time and they would have been fine if they hadn't turned in as far.

As you go on with other steps that "stem" from siete, it is important for ladies to leave their hands up around mid-chest level.  In Siete Moderno for example, the leaders need to switch hands quickly and they need to be able to find the lady's hand easily.  So when you do any of the sietes, ladies should make a special effort to leave their hands where the leader can easily find them.  This is good general advice for other steps as well by the way.

CANDADO

When Rueda dancers do Candado, there is a tendency to stomp the steps once they complete that "Kentucky-like" turn and the ladies are facing the leaders' backs. At that point, guys and gals are both walk forwards (moving clockwise), and they often "clomp" their steps for some reason. The noise of this stomping makes the music hard to hear. Because of this, I've seen dancers fall behind the beat on this step. So keep a close ear out for the music whenever you do this step, or any others that create ongoing noise.

SETENTA

The trick in this step is for the guys to be moving around the lady clockwise as he does the move. When I follow this with a leader who isn't moving in this circular motion, but is doing all other components of the move, we don't wind up oriented correctly with respect to the circle. But more importantly, the move feels awkward in some way. So leaders should pay attention to this ongoing rotation.

DAME ARRIBA

This is a dame step, but you move "upstream" or clockwise to get to the next partner instead of going in the usual counter-clockwise direction.  The trick in this step is that the steps preceding the beats on which men travel to their partner are also altered slightly from the usual dame.  On a standard dame, on beats 5, 6, and 7 leaders go forward on their right foot, then back on their left (as in the basic) and then on beat 7 they step onto their right foot and turn to face the center of the circle.  Then on beats 1, 2, and 3 they move to their new partner stepping on the left, then right and then left feet respectively.   To do Dame Arriba, after the call, leaders do not step to face the center of the circle on beat 7. Instead they are stepping on that beat in the direction of the "upstream" partner that they are moving too.  Essentially, they are getting a little jump on the movement to their next partner. 

And they need that "extra jump" in getting there, because in order to do this move smoothly, they must go to the lady's left side and be comfortably facing into the center of the circle before they initiate the CBL.  This may seem like a small difference, but it is far more movement than a normal dame.  And if the leader tries to do the CBL before fully facing the center of the circle, the move is thrown off!

VACILA

A common mistake that I see in executing this step is for the ladies to spin the turn so that they have finished turning too soon.  Then they are facing the center too early and they wind up having to step backward to get next to their leader on his right.  The vacila turns are supposed to be made evenly, so they are ending as you come to the leader's right side.  You step or walk through these turns rather than spinning them, in other words.

Leaders should lead vacila with a circular movement of their left arm.  This positions the lady to make the turn rather than just moving her straight to the right.  And leaders should move to the left so they get out of the followers' way as the followers come to their right side.  This makes the step far more comfortable for the followers.

VACILENSE LOS DOS

This step is identical to Vacila for the ladies.  But the guys also turn in Vacilense Los Dos.  I have seen this move done a number of different ways in different places.  Guys can turn in the same direction as the ladies (to the right), or they can turn the opposite direction (to the left).  The latter essentially uses the momentum of the lead to initiate the turn and looks quite nice.  Although there is also some logic and a nice look to the partners turning in the same direction, too.  And I've seen guys do either one or two turns.  For that matter, I occasionally see ladies do an extra turn on both Vacila and Vacilense Los Dos.  If a group wants to look very synchronous, they may want to agree on exactly how the step will be done.  But since partners are not holding hands during the turns, everyone's movement is independent. So it won't confuse anyone else if someone does the turns the way they prefer.

DEDO AND MONTANA GANGED TOGETHER

Ganging steps means that the next step is called 8 beats before the end of the previous step, and you go right from one step into the next with no basic in between.  Some dancers consider a goal of a good, sophisticated rueda circle to have a minimum number of basic steps so that the movement really clips along.  This certainly makes it more exciting for the dancers in the circle.  Two steps that I have found go well together are Dedo and Montana.  Montana is essentially the same as Dedo except you hold both hands in Montana and one hand in Dedo.  (Because of the difference in the hand hold, there is a slight difference in the ending of the steps but they are basically the same move.)

To gang these steps, the caller calls Dedo and then 8 beats before it ends (on beat one before the Cross Body Lead), he calls Montana.  Dancers do the CBL at the end of Dedo and then immediately go into the tap preceding Montana. It is a quick change of direction for the followers so they need to be ready for that, and of course a skillful lead will help, too.  This is a great way to take a move that isn't too complicated and turn it into a much longer step that looks relatively sophisticated.