50 Salsa Moves

36 Salsa Routine

Salsa Dance Patterns

Introduction

This document originated as a set of notes I made while trying to learn salsa dancing (as a leader) from group classes. Prior to making these notes, I found that each time I learned a new pattern, I would forget the pattern from the week before, and thus never made any progress. After making the notes, I still forgot patterns, but at least had something written down with which to jog my memory.

Once I had written down a large number of patterns, I realized that most of them consisted of combinations and variations of a small number of basic moves (outside and inside turns, cuddles, etc), and so reworked my notation to reflect this fact.

I then discovered that other beginning leaders were having the same problem as me--namely, how to remember patterns. This especially affected leaders who, like myself, lacked a regular dance partner with whom to practice. So I took the notes I had made for myself, edited them into more or less readable format, and uploaded to the web, hoping that other beginning leaders might find them useful.

As my salsa dancing skills have progressed, I no longer use the pre-choreographed patterns shown in this document, but rather improvise while dancing using the basic moves that compose these patterns. However, I still think that memorizing pre-choreographed patterns is necessary for beginning leaders.

In case it is not obvious, it is next to impossible to learn to dance from reading. This document should be used in conjunction with attending group classes and watching expert dancers.

Several readers have asked for recommendations for videos which show how to perform the moves described in this document. The only such videos that I have watched myself are those of Josie Neglia, which I recommend and which can be ordered at http://www.latindance.com.

Several readers have asked for recommendations for salsa music suitable for dancing. A good starting point is Salsa Fresca - Dance Hits of the '90s, by various artists, on the Rhino label, catalog number 72195.

Readers who are interested in Salsa Rueda (group salsa) should check out http://www.salsarueda.com, where there is a list of Salsa Rueda moves and their descriptions.

Concept 1: Terminology

	The first measure of the phrase is labelled "1,2,3" and the second measure "4,5,6".
	"Closed position" is leader and follower facing one another with left and right feet together.
	"Closing feet" mean bringing left and right feet together and side by side.
	As in all social dancing, "leader" normally means the man and "follower" normally means the woman.
	Turns are assumed to be follower turns. Leader turns are explicitly noted as such.
	Leader turns are explictly described by direction of turn. Thus "leader's right turn" or "leader's left turn".
	Follower turns are described as "outside" or "inside". An "outside" turn is a right turn of the follower. An "inside" turn is a left turn of the follower. These terms "outside" and "inside" are used instead of "right" and "left" to avoid confusion, since a follower's right turn (outside turn) is to the leader's left.

Concept 2: Holds

The terms "closed hold" and "open hold" are standard. Open hold is any hold that is not a closed hold. Most of the terms below I invented myself, to differentiate between the various types of open holds.

Closed hold

Standard ballroom dance hold: leader cups follower's left shoulder blade with his right hand (or else places his right forearm against the follower's back, if the couple is dancing very close together), and holds her right hand with his left hand, with his left arm bent at right angle. Standard dance etiquette says that the follower decides how close to get to the leader when dancing in closed hold. She indicates her preferred distance in a subtle but unmistakeable way, such as by pushing against the leader when she feels he is coming too close. The leader then maintains the distance set by the follower. (Some women I've spoken to say they prefer it when the man forces them close, presumably because this indicates the man finds them attractive. However, a leader who forces a woman close when she doesn't want to be forced close is likely to cause offense. Don't say I didn't warn you!)

Double open hold

Leader holds follower's left hand in his right hand, and her right hand in his left hand.

Crossed hold

Leader holds follower's left hand in his left hand, and her right hand in his right hand. When starting a pattern in crossed hold, the right hands should be on top, in general, so as to allow an outside turn of the follower.

Doubly crossed hold

The hold that results after an outside turn using a double hold. Same hand hold as double open hold, except arms are intertwined. It is very clumsy to simply release hands to get out of this hold. Instead, perform another turn (either of leader or follower) in order to untwist.

Single hold

Leader holds either of follower's hands in either of his hands. Most common combinations are his left to her right and his right to her right. The latter is the "crossed single hold".

Freestyle

No hand hold between leader and follower. They can each do whatever they want, such as show off fancy footwork (sometimes called "shines").

Underarm hold

Starting in double open hold, leader bends his elbows so as to bring follower's hands to his shoulders, then tucks elbows inside and then over follower's arms, then brings his arms down, so that follower's arms are trapped between his upper arm and ribcage (not in his armpit, but rather a few inches lower). This hold is an alternative to the double open hold and can be used to add some extra style when dancing a series of basics or sideways basics.

Concept 3: Basic salsa dance step and variations

Salsa music has a regular tempo, and is normally counted as 4 quarter notes or beats per musical measure (4/4 rhythm). If the beats in the measure are numbered 1 through 4, then it is the even beats (2 and 4) which are heavily stressed. Measures are grouped into phrases of 2 measures or 8 beats each. At a tempo of 160 beats per minute, which is within the standard range of tempos for salsa music, a phrase lasts about 3 seconds. Phrase boundaries are easy to distinguish because the vocalists and melody instruments seem to pause and change key between phrases. Also, most of the rhythms in a typical salsa song repeat over the interval of the phrase instead of over the interval of the measure. A good collection of salsa dance music suitable for dancing is Salsa Fresca - Dance Hits of the '90s, by various artists, on the Rhino label, catalog number 72195.

The "forward basic" dance step is:

Music beat / Dance step	Leader	Follower
1 /	Transfer weight onto right foot	(same as leader's step 5)
2 / 1	Step forward on left foot (break)	(same as leader's step 6)
3 / 2	Rock back onto right foot (rock)	(same as leader's step 7)
4 / 3	Bring left foot back (close), without weight transfer	(same as leader's step 8)
5 /	Transfer weight onto left foot	(same as leader's step 1)
6 / 4	Step back on right foot (break)	(same as leader's step 2)
7 / 5	Rock forward onto left foot (rock)	(same as leader's step 3)
8 / 6	Bring right foot forward (close), without weight transfer	(same as leader's step 4)

Some dancers reverse the leader's and follower's steps in the above table. That is, the leader steps back on beat 2 and forward on beat 6. Since the leader's and follower's steps are mirror images of one another, this makes little difference.

Note that the first break step occurs on beat 2 of the phrase, and not beat 1. This is because of the stress on the even beats. There are times during a salsa song when the rhythm stops but the melody continues, in which case you should remember to pause a beat at the start of the phrase, since you want to hold beat 1 and then break on beat 2. If you don't do this, then when the rhythm resumes, you will be breaking on the non-stressed beats, which probably won't feel right.

Beginning dancers often have great difficulty following the salsa beat. Partly, this is because they tend to waver between breaking on beat 1 (following the melody) and breaking on beat 2 (following the rhythm) and eventually lose the beat entirely. Some dancers think they are breaking on beat 1, when in fact they are breaking on beat 2, because they wrongly assume that the first heavily stressed beat must be beat 1. If you are certain that you are breaking on beat 1 (a non-stressed beat), and this feels right, then by all means continue to dance this way. It is more important to always break on the same beat, than to break on any particular beat. Leaders choose which beat they want to break on, whereas followers must do whatever their leader does.

The "in-place basic" is a basic in which the break steps are either very small or in-place.

The "sideways basic" is a basic in which the break steps are to the left and right instead of forward and backward:

The "backwards basic" is a basic in which the break with the left foot is backwards instead of forwards. That is, leader steps back on the left foot on step 1 and the follower steps back on the left foot on step 4. The backwards basic is normally performed in double open hold.

The "backwards basic with leg styling" is performed as follows. Leader gives a vigorous push on the break steps (1 and 4). On this same step, leader and follower make a sharp step backwards while bending the knee of the free leg (right leg is free for leader on step 1, and so forth) so that the heel lifts but the toe remains touching the floor. The rock and close steps are the same as for the standard basic.

The "whiplash" is similar to the "backwards basic with leg styling", except that on the break step, the spine is bent backwards and the head thrown back. The whiplash is normally only done by the follower.

Other variations on the basic:

	Perform the close after forward break in a single beat of music (instead of spreading it over 2 beats), then kick the right foot forwards before breaking backwards. That is, leader would kick forwards on beat 5 and follower would kick forwards on beat 1.
	Add an occasional additional thrust of the pelvis, somewhat offset from the normal motions caused by the leg movements.
	Instead of bringing the feet into side by side position during the close step, cross the right foot in front of the left.
	Instead of stepping to the left or right during a sideways basic, just point the left or right leg to the side and hold for the entire measure. The pointing leg should be straight, with the toe touching the floor and the heel lifted.

Concept 4: General dance tips

	The torso should remain upright while dancing. In particular, try to avoid the upper body rocking movements of swing or foxtrot dancing.
	Be sure to fully transfer your weight forwards or backwards on the break steps: don't just stretch your foot out.
	Lean slightly forwards. Some moves (such as a dip) may require leaning backwards, but other than these special cases, leaning slightly forwards should be the normal posture for both leader and follower.
	The hip movement of salsa dancers (sometimes called "Cuban hip motion") is a consequence of proper legwork, and not a movement in its own right. Do not force movement in your hips or you will look grotesque. Proper hip movement will normally be greater in women than men, due to women having a comparatively wider pelvis.
	When in closed hold, do not pump arm (leader's left arm, follower's right arm) up and down excessively.
	Keep feet pointed slightly outward, especially the left foot on the forward break. Avoid the "pigeon-toed" look, with the toes pointing inward.
	Keep the legs close together in passing, or even cross them slightly in front of one another. Avoid the "bow-legged" look, with the thighs and knees spread wide.
	Always step first onto the ball of the foot, and then lower the heel, regardless of the direction you are moving. Never step heel-first.
	Keep feet as close as possible to the floor--as if skating on ice. Lifting them high is ungainly looking--like a horse stomping around. Keeping feet close to the floor also reduces the chances of stepping onto another dancer's ankle--which can be very painful for them.
	The faster the music, the smaller the steps should be. The slower the music, the larger the steps should be.
	When performing the basic alone, try to move around, turning slightly to the right or left each phrase, instead of just moving back and forth like a robot on a track.
	Don't grip your partner tightly. Be especially careful about thumbs: it doesn't take much force for a thumb pressing against the back of someone's hand to feel uncomfortable. This applies to both leaders and followers.
	Especially in the closed and double open holds, arms should be slightly tensed (no "spaghetti arms") with pressure between the partners. This pressure feels good (at least to experienced dancers), looks good to observers, and makes it possible to perform moves that would be impossible otherwise. During complex turns, dancers should relax the arms to let them move freely.
	Leaders should be careful to alternate between leading outside and inside turns, since too many turns in succession in a single direction will make the follower dizzy.
	Look at your partner's face while dancing (except during a turn, of course), and not at the other dancers or towards the ceiling or the floor or out into space. It's okay not to smile constantly, but at least try to smile occasionally (and definitely smile when you or your partner make a mistake :).
	Follower should carry most of her own weight and provide most of her own turning power.

Concept 5: Open break

Steps	Leader	Follower
1,2,3	Backwards basic, moving from closed hold to one of the open holds during the backwards break.	Basic

The open break is commonly taught as the way to exit closed hold in preparation for a pattern. A more graceful way to leave closed hold would be a cross-body lead followed by a cross-over step to the right for the leader while the follower does her normal backward basic (leader must relax his arm during this cross-over so as not to lead the follower). Advantages of this second approach are that there is more motion and the dancers stay closer together. Also, this second approach does not require arm tension in the follower, which is important because many beginning followers don't give that tension.

Concept 6: Opening out break (also known as 5th position breaks or whisks)

Steps	Leader	Follower
1,2,3	Bring left foot back and to the right, placing left foot slightly behind the right, while twisting to the left, then rock onto right foot, then bring left foot forward to closed position.	(same as leader 4,5,6)
4,5,6	Bring right foot back and to the left, placing right foot slightly behind the left foot, while twisting to the right, then rock onto left foot, then bring right foot forward to closed position.	(same as leader 1,2,3)

The term "5th position" is from classical ballet. The term "whisk" is from ballroom dancing.

Opening out can be exaggerated as follows:

Steps	Leader	Follower
1,2,3	Opening out break, twisting to the left more than normal, releasing left hand and catching follower at waist with right arm.	Opening out break.
4,5,6	Opening out break, twisting to the right more than normal, releasing right hand and catching follower at waist with left arm.	Opening out break.

Concept 7: Cross-over breaks and throwout turn

Steps	Leader	Follower
1,2,3	Diagonally forward and to right on left foot (crossing over right foot), turning slightly to right, then rock onto right foot, then bring left foot back to closed position.	(same as leader 4,5,6)
4,5,6	Diagonally forward and to left on right foot (crossing over left foot), turning slightly to left, then rock onto left foot, then bring right foot back to closed position.	(same as leader 1,2,3)

Will normally need to be in open hold of some sort to perform cross-over breaks.

Can perform the left and right components of the cross-over break in any order, mixed up with other patterns.

A series of cross-over breaks can be concluded by a throwout turn. For example::

Steps	Leader	Follower
1,2,3	Cross-over break	Cross-over break
4,5,6	Begin cross-over break to left, but then give push with right arm and release, thus "throwing" follower into free outside turn, while simultaneously performing left turn of our own.	Free outside turn (to right)

Concept 8: Swivels and cross-over swivels

Swivels are performed in the double open hold. There must be strong pressure between leader and follower to make swivels work. The leader can swivel with the follower, or he can remain stationary.

To swivel to left, twist hips to left, transfer weight to left foot, then bend right leg at knee and cross right knee over left knee. Similarly for swivel to right.

3 swivels per measure:

Steps	Leader	Follower
1	Push with left arm and pull with right. Swivel to left.	Push against leaders hands. Swivel to right.
2	Push with right arm and pull with left. Swivel to right.	Push against leaders hands. Swivel to left.
3	Same as step 1, except with a pause after ("slow" count instead of "quick").
4	Same as step 2.
5	Same as step 1.
6	Same as step 2, except with a pause after ("slow" count instead of "quick").

2 swivels per measure:

Steps	Leader	Follower
1	Push with left arm and pull with right. Swivel to left.	Push against leaders hands. Swivel to right.
2	Push with right arm and pull with left. Swivel to right.	Push against leaders hands. Swivel to left.
	(repeat the above 2 steps for the next musical measure)

In cross-over swivels, swivel to the right and step with left leg crossing over right leg, then swivel to the left and step with right leg crossing over left leg. Cross-over swivels are normally performed at the rate of 2 swivels per measure.

A typical exit from swivels is for leader to give a vigorous push with both hands on step 1, so that both leader and follower perform a backwards basic with leg styling (alternatively, the follower can perform a whiplash).

Concept 9: Overhead hand sweep

While in double open hold, leader ensures there is strong arm pressue between himself and follower, then steps forward (on either measure) and raises arms until they are extended straight up. He then sweeps arms down in quarter circle, keeping them straight, with the left arm sweeping down to the left and the right arm sweeping down to the right. This move will not work very well if the leader is much taller than the follower. A good followup to the overhead hand sweep is a series of cross-over breaks. Example:

Steps	Leader	Follower
1,2,3	Backwards basic	Backwards basic
4,5,6	Backwards basic	Backwards basic
1,2,3	Forward basic, lifting arms up and then sweeping them down	Basic
4,5,6	Cross-over break to left	Cross-over break
1,2,3	Cross-over break to right	Cross-over break
4,5,6	Basic, turning follower	Outside turn (to right)

Concept 10: Cross-body lead

Steps	Leader	Follower
1,2,3	Forward on left foot, rock onto right foot, then turn quarter turn to left and step to left on left foot.	Basic
4,5,6	Step slightly back on right foot, then turn quarter turn to left and step forward on left foot, then bring right foot forward to closed position	Forward on left foot, then turn half turn to left and step back on right foot, then bring left foot back to closed position.

Experienced followers will snap the turn on step 5. Beginners will seem to stumble through it.

A variation on the cross-body lead is the "slide":

Steps	Leader	Follower
1,2,3	Same as for standard-cross body lead.	Basic
4,5,6	Step left on right leg, crossing in front of left leg. Then step left on left leg, then bring right foot closed.	Forward on left foot, then quarter turn to left and step sideways on right foot, then bring left foot closed.

Concept 11: Cuddle position (also known as "sweetheart" or "side-by-side" position)

Steps	Leader	Follower
1,2,3 and/or 4,5,6	Start in double open hold and maintain double hold throughout (leader's left hand holds follower's right, etc.). Step forward and then turn to right a half-turn, or less than a half-turn if follower is also turning. Lift left arm over follower's head, then lower hands to waist level. Optionally cause follower to perform partial inside turn.	Basic or partial inside turn (to left)

Entering the cuddle can take either 1 or 2 measures to complete. Leader may end up on follower's left or right. When walking in a circle while in cuddle position, the axis of rotation is the space between the dancers. That is, both leader and follower should be walking in a circle and not just one of the two partners.

It is also possible to cuddle the leader. For example:

Steps	Leader	Follower
1,2,3	Open break to double open hold.	Basic
4,5,6	Half turn to right, lifting left arm over our head and bringing it down when the half-turn is complete.	In-place basic.
1,2,3	Sideways basic	Sideways basic
4,5,6	Release both arms and perform half turn to right. Resume closed hold at conclusion of half-turn.	In-place basic

Concept 12: Change places

While in single hand hold, leader and follower change places, possibly performing some turns and/or fancy footwork on the way. Changing places is especially useful when the leader has somehow gotten off beat, because it can be performed in less than a full measure if necessary, and because there is no need to synchronize footwork since there is only a single loose hand hold.

Concept 13: Haircombing and related arm techniques

For follower haircomb, leader brings either of follower's hands over her head with his hand, as if combing her hair, then releases. Beginning followers often misunderstand haircombing, and try to perform a turn of some sort. Haircombing allows a graceful return to closed hold. Leader haircomb is similar, except leader brings follower's hand over his head. It is also possible for either leader or follower to comb themselves, using a free hand, to add some "pizazz" to their dancing.

The double haircomb is useful as a graceful exit from double open hold. While performing a basic, leader loops his left hand over his head and his right hand over follower's head (so that his right hand touches her right shoulder). Partners then pull apart, letting their right hands slide down the other partner's right arm. A good followup would be a change places.

As an elegant return to return to closed hold from double open hold, leader can bring his right hand to his right shoulder on step 1 of the forward basic, thus placing follower's left hand there. He then slips his right hand behind follower's back and continues with the remainder of the basic move, or perhaps with a cross-body lead.

Concept 14: Outside and inside turns

An outside turn is a right turn of the follower. An inside turn is a left turn of the follower. The terms "outside" and "inside" are used instead of "right" and "left" to avoid confusion, since a follower's right turn (outside turn) is to the leader's left.

Outside turn:

Steps	Leader	Follower
1,2,3	Open break	Basic
4,5,6	Sideways basic, turning follower	Outside turn (to right)

Inside turn:

Steps	Leader	Follower
1,2,3	Open break, then pull follower into inside turn, changing places as she moves forward, and lifting arm over her head.	Back on right foot, then inside turn (to left).
4,5,6	Optionally turn follower again.	Basic, or another inside turn (to left).

Concept 15: Dips and aerials

The safest and simplest dip is the partial dip. Using a right hand to right hand single crossed hold, pull follower into inside turn. As she turns, release hand hold and reach around and hug her closely: leader's right hand placed behind follower's back, his left hand on her right shoulder, leader's and follower's bodies pressed tightly together. Leader then twists to left, steps to left on left foot, and bends left knee so he leans slightly to left. This causes follower to twist and lean back. Follower's feet remain on the ground. If the lean is a slight one, then the leader will only have to bear a small percentage of the follower's weight with his upper body--most of her weight will still be carried through her legs or pressing down against his right hip. Follower can add some style to this simple dip by lifting and bending her left leg and wrapping it around leader's hips. This won't add to the weight the leader has to bear, since her right leg will still be planted firmly on the ground.

Concept 16: Dancing in crowded conditions

When the dance floor is crowded (the normal condition in popular nightclubs) turns can be unsafe and therefore a leader should be careful about leading them. Turns are unsafe because a follower who is turning may get hit in the face by the elbow or head of someone else who is turning, which can cause serious injury (such as a broken nose or knocked out teeth). Whereas, if she is not turning, the only place she is likely to be hit is the back of her ankles, back of her torso and back of her head. Being hit in these places is unlikely to lead to serious injury (though having the ankles stepped on is quite painful). This restriction on turns rules out the patterns described below. The following simple moves are still possible, however:

	Basic
	Sideways basic
	Backwards basic with leg styling
	Opening out
	Cross-over breaks
	Swivels
	Overhead hand sweep
	Cross-body lead (without turns)

Concept 17: Hook turn and double free spin

Leader's hook turn to right:

Steps	Leader
4	Bring right foot behind left, and spin on right foot.
5	Stop spin with left foot.
6	Transfer weight to right foot.

Leader's double free spin to right:

Steps	Leader
4	Step slightly to right on right foot.
5	Rock onto left foot and twist to left, with arms thrown back to left.
6	Twist quickly to right, transfering weight to right foot, swinging arms around and then bring them close to body to add to turning momentum. Perform a full spin on this step.
1	Transfer weight to left foot momentarily for balance. Twist right foot so it points diagonally to right and back.
2	Transfer weight to right foot and perform another full turn.
3	Lift arms and transfer weight to left foot to stop spin. Left foot may be extended slightly to left to aid in balancing and stopping.
4,5,6	Basic (break back on right, etc)

The spinning steps should be performed as smoothly as possible. For a follower, the spin would occur on steps 3,4,5,6 instead of 6,1,2,3.

To avoid dizziness while spinning, look at partner for as long as possible, then snap head around and look at her again from the other direction.

Bringing arms close to body while spinning improves balance and adds turning momentum.

Pattern 1: Cross-body with leader right turn and hand pass, checked outside turn, inside turn

Steps	Leader	Follower
1,2,3	Cross-body	Basic
4,5,6	Cross-body, with right turn and hand pass behind back (so our right holds her right)	Cross-body
1,2,3	Sideways basic, lead follower into partial outside turn then check turn, by pulling her back to closed position.	Basic
4,5,6	Sideways basic, while turning follower	Inside turn (to left)

Pattern 2: Cross-body with inside turn

Steps	Leader	Follower
1,2,3	Cross-body	Basic
4,5,6	Cross-body, except lead follower to perform extra inside turn. Follower may have difficulty completing this turn in time. Leader can assist by circling follower in the clockwise direction, going against the direction of her turning and thus reducing the distance she has to travel.	Cross-body with extra inside turn (to left)

Pattern 3: Cross-body with free inside turn

Steps	Leader	Follower
1,2,3	Cross-body	Basic
4,5,6	Lead follower into cross-body, then grab her right shoulder with left arm and lead her to perform full turn, releasing hold as she turns. A variation is to push follower with left arm on steps 1-3, then extend our right hand across our body to the left on step 4. These two movements give the follower turning momentum. On step 5, pull the right hand back and to the right, throwing follower into free inside turn. Another variation is to spin follower using our hands on her waist instead of on her shoulder.	Cross-body, with inside turn (to left)
1,2,3	Free-style (or perform a right turn of our own)	Continue turning
4,5,6	Free-style	Free-style

Pattern 4: Crossed-hold cross-body to cuddle, outside turn

Steps	Leader	Follower
1,2,3	Cross-body, with firm right hand to right hand single hold	Basic
4,5,6	Cross-body, spinning follower into cuddle, leader to left of follower, her right hand on her right shoulder and holding her right hand. Check follower's turn with left hand	Cross-body, then extra 1/2 turn to left
1,2,3	Basic. Gently push follower forward on step 3 with left arm, to initiate outside turn	Basic (forward with right foot on step 1)
4,5,6	Sidestep to right, turning follower with right hand and performing 1/4 left turn of our own	1 and 1/4 outside turns (to right)

Pattern 5: Crossed-hold cross-body, multiple inside turns, leader haircomb

Steps	Leader	Follower
1,2,3	Cross-body, with firm right hand to right hand single hold	Basic
4,5,6	Cross-body, leading follower to continue turning to left, while starting to turn to left ourselves	Cross-body, then continue turning to left
1,2,3	Turn to left, circling follower counter-clockwise, and continuing to turn her	Inside turn (to left)
4,5,6	Turn to left, circling follower counter-clockwise, and continuing to turn her. Conclude with leader haircomb	Inside turn (to left)

Pattern 6: Checked inside turn (Peek-a-boo)

Steps	Leader	Follower
1,2,3	Open break, then pull follower into inside turn. Single hand hold: leader's left or right to follower's right.	Back on right foot, then half of inside turn (to left)
4,5,6	Forward on right foot, checking follower's turn with free arm, then step back and lead follower to return to closed position	Turn back to right

Pattern 7: Multiple checked inside turns

Steps	Leader	Follower
1,2,3	Open break, then pull follower into inside turn, using single hand hold: leader's left or right to follower's right. Release hold as follower completes turn.	Back on right foot, then half of inside turn (to left)
4,5,6	In-place basic. Check follower's turn with right arm, then gently push to cause her to reverse turn.	Half turn back to right
1,2,3	In-place basic. Check follower's turn with left arm, then gently push to cause her to turn again	Half turn back to left
	(the above 2 measures can be repeated)
4,5,6	In-place basic. Check follower's turn with right arm, then gently push to cause her to reverse turn. When she returns to closed position, take hold of her right arm and lead her into changes places with inside turn or some other pattern.	Half turn back to right

Here's a very flashy enhancement to the multiple checked inside turns. On step 3, leader dips deeply to left, bending left leg and keeping right leg straight. On step 4, he checks followers turn by using his hand against her thigh. On steps 5 and 6 he raises himself and, optionally, performs some sort of turn or spin as a followup

Pattern 8: Hammerlock checked inside turn

Steps	Leader	Follower
1,2,3	Open break into double open hold, then pull follower into inside turn, lifting right arm (follower's left arm) and depressing and twisting left arm (follower's right arm) so it bends behind follower's back in hammerlock hold. Be careful to keep follower's bent arm low, otherwise you may cause pain and injury to her shoulder.	Back on right foot, then half of inside turn (to left).
4,5,6	Forward on right foot, checking follower's turn, then step back and lead follower to return to closed position	Turn back to right

Pattern 9: Checked inside turn to wrap

Steps	Leader	Follower
1,2,3	Open break into single crossed hold (leader's right to follower's right). Pull follower into inside turn, depressing and twisting arm so that it bends behind follower's back in hammerlock hold. Be careful to keep follower's bent arm low, otherwise you may cause pain and injury to her shoulder.	Back on right foot, then half of inside turn (to left).
4,5,6	Forward on right foot, checking follower's turn, then step back and lead follower to return to closed position	Turn back to right

Pattern 10: Checked inside turn to neck wrap

Steps	Leader	Follower
1,2,3	Open break into single crossed hold (leader's right to follower's right). Pull follower into inside turn, lifting arm to neck level so that follower's neck presses against our forearm.	Back on right foot, then half of inside turn (to left).
4,5,6	Forward on right foot, checking follower's turn, then step back and lead follower to return to closed position.	Turn back to right

Pattern 11: Change places with double inside turn

Steps	Leader	Follower
1,2,3	Open break, then pull follower into inside turn. Single hand hold: leader's left or right to follower's right.	Back on right foot, then inside turn (to left)
4,5,6	Change places with follower as she continues turning	Another inside turn (to left)

It helps to precede a double inside turn by one or more peek-a-boos, to give the follower some turning momentum.

Pattern 12: Change places with inside turn, change places, outside turn with change places

Steps	Leader	Follower
1,2,3	Open break, then pull follower forward into inside turn while stepping forward so as to change places	Inside turn (to left) and change places
4,5,6	Switch hands (right to right hold), then step forward, turning to left	Basic
1,2,3	Change places, lifting follower's hand over our head	Change places
4,5,6	Turn follower, while changing places, so that she performs 1 and 1/2 turns.	Outside turn (to right)

Pattern 13: Inside turn to neck wrap, leader haircomb while walking to step 3, free outside turn

Steps	Leader	Follower
1,2,3	Open break to single hold (right hand to right hand), then pull follower forward into inside turn, lifting right hand so our right forearm rests against back of follower's neck, check her turn by grabbing her right elbow (which is sticking out towards us) with left hand	Back on right foot, then half inside turn (to left)
4,5,6	Walk forward	Walk backward
1,2,3	Continue walking, lift right arm from behind follower's head, move it behind ours, while maintaining hold on follower's right elbow.	Walk backward
4,5,6	Gently but firmly push follower's right arm down and to our left, causing her to turn (if you push up, she may hit other dancers in the face).	Free outside turn (to right)

Follower's arm must be relaxed in order for leader to have time to grab her elbow before she turns again.

Pattern 14: Crossed hold outside turn to cuddle, sidestep, outside turn

Steps	Leader	Follower
1,2,3	Open break, enter crossed hold (right over left)	Basic
4,5,6	Turn follower, end up in cuddle hold, with leader to right of follower	1/2 outside turn (to right)
1,2,3	Sidestep to left, so leader is to left of follower, maintain double hand hold	Basic
4,5,6	Release left hand, sidestep to right, turn follower with right hand	1 and 1/2 outside turns (to right)

To make the 1 and 1/2 outside turns easier: release left hand on step 2 and use it to gently push follower forward on step 3, so she starts the outside turn early.

Pattern 15: Crossed hold outside turn, leader left turn, outside turn, haircomb, free outside turn

Steps	Leader	Follower
1,2,3	Open break, enter crossed hold (right over left)	Basic
4,5,6	Sideways basic, turning follower with both hands	Outside turn (to right)
1,2,3	Turn to left (half turn and change places, or full turn and no change places), maintaining double hand hold so that hands will be crossed with right over left	Basic
4,5,6	Sideways basic, turning follower with both hands	Outside turn (to right)
1,2,3	Basic, with follower haircomb using right hand (her left hand will be caught in the crook of her bending right elbow as we begin the haircomb)	Basic
4,5,6	Using hands on follower's elbows, turn her	Outside turn (to right)

Pattern 16: Double hold outside turn, change places, cuddle, sidestep, outside turn

Steps	Leader	Follower
1,2,3	Open break, enter double open hold	Basic
4,5,6	Turn follower, maintaining double hand hold, which is now crossed	Outside turn (to right)
1,2,3	Step forward, turning to left, thus changing places with follower, maintaining double hand hold, which becomes uncrossed	Change places
4,5,6	Enter cuddle with leader on right side of follower	Basic
1,2,3	Step to left side of follower, maintaining cuddle	Basic
4,5,6	Release left hand and turn follower with right arm	Outside turn (to right)

Pattern 17: Double hold outside turn, leader right turn under follower's hands, leader haircomb

Steps	Leader	Follower
1,2,3	Open break into double open hold	Basic
4,5,6	Turn follower with both hands. During turn, bring both of followers hands together and held by our right hand	Outside turn (to right)
1,2,3	Lift follower's hand and make right turn underneath.	Basic
4,5,6	Basic, while bringing follower's hands over our head in a leader haircomb.	Basic

Pattern 18: Outside turn to neck wrap cuddle, sidestep to choke hold, outside turn

Steps	Leader	Follower
1,2,3	Open break	Basic
4,5,6	Push follower with left arm into outside turn, but keep arm down at neck level so she turns into a neck wrap. Perform half turn to right to enter cuddle, with leader to right of follower. Leader will be holding follower's right hand against her left shoulder.	Outside turn (to right) into neck wrap
1,2,3	Sidestep behind followers back, switch hands so that our right arm is now in front of follower and holding her right hand, which continues to rest on her left shoulder (almost like a choke hold).	In-place basic
4,5,6	Turn follower. To reduce the amount she has to turn, use left arm to gently push her on step 3 of the preceding measure and then sidestep to right and turn a quarter turn to left.	1 and 1/2 outside turns (to right)

Pattern 19: Outside turn, follower circles leader, free outside turn led by hip touch

Steps	Leader	Follower
1,2,3	Open break	Basic
4,5,6	Sideways basic, turning follower.	Outside turn (to right)
1,2,3	Lift right arm over follower's right arm (which is held by our left arm), then use it as lever to cause her to continue circling	Walk forward behind leader
4,5,6	Use left hand against follower's left hip to lead her into outside turn	Outside turn (to right)

Pattern 20: Outside turn, follower circles leader with hand on neck, free outside turn, leader left turn

Steps	Leader	Follower
1,2,3	Open break	Basic
4,5,6	Sideways basic, turning follower using our left arm and her right arm. On step 6, use her stiff right arm as lever to pull her forward, using our right hand against her right elbow.	Outside turn (to right)
1,2,3	Step forward, then back, making room for follower to circle us. Hold onto follower's right hand with our right hand, so that it stays against our neck. On step 3, take hold of follower's right wrist with our left hand, in preparation for turning her.	Circle leader, keeping right hand against his neck.
	(choose one of the following options)
4,5,6	Gently but firmly push follower's arm down (if you push up, she may hit other dancers in the face) and to the left, causing her to turn. Perform left turn of our own.	Free outside turn (to right).
4,5,6	Sideways basic, turning follower.	Outside turn (to right).

Pattern 21: Outside turn with leader haircomb, follower circles leader, outside turn

Steps	Leader	Follower
1,2,3	Open break, to double open hold	Basic
4,5,6	Release hold with right hand and turn follower with left arm. On step 6, lower left arm behind our head, so that follower's hand (which is being held by our left hand) is behind our head. This is the leader haircomb. Put our right hand behind follower's shoulder or back, in preparation for leading her to circle us.	Outside turn (to right)
1,2,3	Guide follower to circle us, by pulling with our left arm and using right arm behind her back as a sort of lever. Do not release hold with left hand. Step to the side on left on step 1, then forward on right, then backwards and to the side on left, making room for follower to circle us. If the follower hasn't completed circling us by step 3, then it may be necessary for us to compensate by turning to our left a quarter turn to face her on step 3.	Walk forward in circle around leader.
4,5,6	Sideways basic, turning follower with left arm.	Outside turn (to right).

Pattern 22: Hammerlock outside turn, sidestep back to back, leader duck, outside turn

Steps	Leader	Follower
1,2,3	Open break, enter open double hold	Basic
4,5,6	Lift left arm and turn follower, while depressing and twisting right arm, so that it bends behind follower's back. Be sure to keep right arm low, or you may cause pain and injury to follower's shoulder. On step 3, step forward under left arm, which should still be raised.	Outside turn (to right)
1,2,3	Sidestep to right behind follower (leader's back against follower's back). On step 3, step backwards, lifting right arm and ducking under.	Basic
4,5,6	Lift right arm and turn follower, maintaining double hand hold.	Outside turn (to right)

Pattern 23: Hammerlock outside turn, free outside turn

Steps	Leader	Follower
1,2,3	Open break, enter double open hold	Basic
4,5,6	Lift left arm and turn follower, while depressing and twisting right arm, so that it bends behind follower's back. Be sure to keep right arm low, or you may cause pain and injury to follower's shoulder.	Outside turn (to right)
1,2,3	Basic (stepping forward on left on step 1). Release left arm and grab hold of follower's right shoulder. On step 3, pull her left arm with our right hand and push her right shoulder with our left hand to prepare follower for turn.	Basic.
4,5,6	Lead follower into free outside turn, by pulling her shoulder and arm, then releasing both hands. Be gentle with follower's arm!	Free outside turn or spin

Pattern 24: Crossed hold outside turn, shoulder wrap cuddle, walk backwards to step 3, free outside turn

Steps	Leader	Follower
1,2,3	Open break, enter crossed hold (right over left)	Basic
4,5,6	Sideways basic, turning follower with both hands. Bring follower's right arm (held by our right arm) over our left shoulder, while holding her left hand (held by our left hand) against her left shoulder. End in side by side cuddle position.	Outside turn (to right)
1,2,3	Walk backward, then step to side, ending up facing follower. Put our right hand on follower's left shoulder	Basic then forward and turn to left
4,5,6	In-place basic, leading follower with hands into free outside turn	Free outside turn (to right)

Pattern 25: Crossed hold outside turn, shoulder wrap cuddle, follower circles leader, free outside turn

Steps	Leader	Follower
1,2,3	Open break, enter crossed hold (right over left)	Basic
4,5,6	Sideways basic, turning follower with both hands. Bring follower's right arm (held by our right arm) over our left shoulder, while holding her left hand (held by our left hand) against her left shoulder. End in side by side cuddle position.	Outside turn (to right)
1,2,3	Lift right arm over follower's right arm (held by our left arm) and behind her back and use it as lever to cause her to walk around us	Walk forward behind leader
4,5,6	Use left hand against follower's left hip to lead her into outside turn. Alternatively, gently but firmly push follower's arm down (if you push up, she may hit other dancers in the face) and to the left, causing her to turn. Optionally perform left turn of our own.	Free outside turn (to right)

Pattern 26: Cuddle, sidestep, uncuddle

Steps	Leader	Follower
1,2,3	Cuddle	Basic
4,5,6	Sidestep to right, passing behind follower	Basic
1,2,3	Sidestep to left, passing behind follower	Basic
4,5,6	Uncuddle	Basic

Pattern 27: Cuddle, cuddle leader (Figure 8)

Steps	Leader	Follower
1,2,3	Open break, then pull follower into inside turn and change places, lifting left arm over follower and releasing right arm as she passes	Back on right foot, then change places with inside turn
4,5,6	Back on right foot, then grab follower's left hand with our right hand and pull her so she passes behind us, lifting right arm so we can pass under, perform half turn to left, release left arm at conclusion of turn	Back on left foot, then forward and half turn to right, passing behind leader
	(repeat above 2 measures then perform another cuddle pattern)

Pattern 28: Cuddle, hammerlock outside turn, cuddle

Steps	Leader	Follower
1,2,3	Open break, enter cuddle	Basic
4,5,6	Lift left arm and lead follower to turn to right into hammerlock. Sidestep to right and perform quarter turn to left, to reduce amount she has to turn.	1 and 1/4 outside turns (to right)
1,2,3	Turn follower back into cuddle. Sidestep to left and perform quarter turn to right, to reduce amount she has to turn.	1 and 1/4 inside turns (to left)

Pattern 29: Cuddle, step in front, pull follower around, outside turn

Steps	Leader	Follower
1,2,3	Cuddle	Basic
4,5,6	Step to left while in cuddle, so follower is to our right	In-place basic
1,2,3	Release right hand and step in front of follower, ducking under our left arm, then pull follower around in front of us	Walk forward in front of leader
4,5,6	Sideways basic, turning follower	Outside turn (to right)

Pattern 30: Cuddle, walk to step 3, outside turn

Steps	Leader	Follower
1,2,3	Cuddle	Basic
4,5,6	Walk forward in circle	In-place basic
1,2,3	"	"
4,5,6	Release left hand, sidestep to right, turn follower with right hand. To reduce amount follower has to turn, release left hand and gently push her on step 3 of the previous measure, and then sidestep to right and perform quarter turn to left.	1 and 1/4 outside turns (to right)

Pattern 31: Cuddle, walk to step 3, free outside turn, leader left turn

Steps	Leader	Follower
1,2,3	Cuddle	Basic
4,5,6	Walk forward in circle	In-place basic
1,2,3	"	"
4,5,6	Release left arm, pull with right arm then release, causing follower to turn or spin, then perform leader left turn.	Free outside turn or spin (to right)

Pattern 32: Cuddle, walk to step 3, pull into wrap, cuddle

Steps	Leader	Follower
1,2,3	Open break, enter cuddle	Basic
4,5,6	Walk forward	Basic
1,2,3	Walk forward. On step 3, release left hand and gently begin to push follower forward.	"
4,5,6	Pull with right hand, causing follower to turn into wrap. Sidestep to right and perform quarter turn to left, to reduce amount she has to turn.	1 and 1/4 outside turns (to right)
1,2,3	Take hold of follower's right hand with our left hand, then lift this arm and guide her into inside turn. Sidestep to left and perform quarter turn to right, to reduce amount she has to turn. Result will be to re-enter cuddle position.	1 and 1/4 inside turns (to left)
	(continue with one of the other cuddle patterns)

Pattern 33: Cuddle, walk to step 3, pull into wrap, pull into free inside turn

Steps	Leader	Follower
1,2,3	Open break, then cuddle	Basic
4,5,6	Walk forward	Basic
1,2,3	"	"
4,5,6	Release left hand, pull with right hand and twist so that follower turns into wrapped position, with her left arm bent behind her back in hammerlock position. Be sure to keep this arm low, or you may cause pain and injury to follower's shoulder.	Turn to right (probably 1 and 1/2 turns)
1,2,3	Push then pull with left arm, then release, so that follower goes into free inside turn	One or more free inside turns (to left)
4,5,6	Basic, or whatever is necessary to catch up to follower	"

Pattern 34: Cuddle, walk to step 3, arm lever turn, follower circles leader, outside turn

Steps	Leader	Follower
1,2,3	Cuddle	Basic
4,5,6	Step to left while in cuddle, so follower is to our right. Release hold with left hand, put left hand on follower's left shoulder.	Basic
1,2,3	Walk forward in circle. On step 3, gently push follower forward with left arm and lift right arm under follower's right arm, so that she is forced to start turning to right. Use arm as lever to force her to circle us.	In-place basic, then begin turn to right
4,5,6	Step forward and then back to allow follower to circle us.	Walk in circle around leader
1,2,3	"	"
4,5,6	Turn follower	Outside turn (to right)

Pattern 35: Cuddle, walk to step 6, follower duck, outside turn, haircomb

Steps	Leader	Follower
1,2,3	Cuddle	Basic
4,5,6	Walk forward, pressing down gently with right arm against follower's back on step 6. Be careful not to bump her.	In-place basic, ducking on step 6
1,2,3	In-place basic. If follower doesn't duck, then just continue walking to next step 3 and perform one of the other exits from cuddle.	Duck under leader's arms and step backward
4,5,6	Sideways basic, turning follower with both hands	Outside turn (to right)

Caution: many followers intensely dislike this pattern (they don't like ducking).

At conclusion of pattern, partners will be in a double open hold. It is possible to return directly to closed position, but a more graceful followup would be to re-enter cuddle position or perform a figure 8.

Pattern 36: Leader cuddle and hook turn to right

This move can be used as an exit from double open or doubly crossed hold.

Steps	Leader	Follower
4,5,6	Half turn to right, lifting arms and separating them to form loop. Bring this loop down over our head and body. Release both hands when loop is at mid-chest level and make another half turn to right. There will normally not be enough time to complete this second half turn. However, if done properly, leader's momentum will be such that the turn can be completed on the next measure.	In-place basic.

Salsa Dance Moves

Forwards basic
Sideways basic
Cross-body lead
Cross-body lead to cuddle
Change places
Backwards basic with leg styling (whiplash for follower)
Overhead hand sweep
Cross-over breaks
Throwout turn
Swivels
Various forms of haircombing
Inside turn
Double inside turn while changing places
Checked inside turn (Peek-a-boo)
Inside turn to neck wrap cuddle
Single hold outside turn
Single hold multiple outside turns
Double hold outside turn
Hammerlock outside turn
Crossed hold outside turn
Outside turn to neck wrap cuddle
Free outside turn led by arm push
Free outside turn led by hip pull
Follower circles leader with hand on his torso
Follower circles leader with hand on his neck
Follower circles leader in double hand hold
Leader lifts arm over follower after outside turn, causing her to circle
Sidestep back to back after hammerlock outside turn
Cuddle
Cuddle leader
Cuddle, cuddle leader (Figure 8)
Sidestep while in cuddle
Sidestep while in leader cuddle
Walk clockwise while in cuddle
Pull into outside turn from cuddle
Pull into hammerlock wrap from cuddle
Pull into free outside turn from cuddle
Step in front from cuddle, pull follower around