Black Belt Salsa Student Manual

Welcome To… 

BLACK BELT 

Salsa! 

Online Student Manual!! 

Updated 6/2/16 

Page 1 

Copyright 2001 to Present, By Edie, The Salsa FREAK All Rights Reserved 

www.DanceBusinessManagement.com www.BlackBeltSystem.com www.SalsaFreak.com 

BlackBeltSalsa.com


Page 2 



BlackBeltSalsa.com 

Online New Student Orienta0on Packet 

BBS Students: 

Feel free to watch the videos of moves and techniques you will be learning ... ONLINE! 

You have access to over 900 online student training videos from White Belt through Student Black Belt. 

Click here for video membership and full access: hRp://student.blackbeltsalsa.com/ 

Monthly Payment for online access is “in addi5on” to your standard BBS Group Class monthly fees. 

To Your Success!! 

- Edie, The Salsa FREAK!! 

GM BBD and Denver School Sensei 

Bio: hIp://www.SalsaFreak.com/bio


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Black Belt Salsa


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We create some of the Finest Social Dancers in the World. 

How? We train the instructor first. 

We uVlize a World Class systemaVc, progressive course syllabus, 

and reward both Instructor and Student success using MarVal Arts ranking. 

Our Belief: 

World Class Instructors 

create AMAZING students!! 

Our retenTon rate is 

UNPRECEDENTED. 

WE ARE IN Twelve COUNTRIES 

Worldwide Usage Stats: 

1. United States 

2. India 

3. Canada 

4. Australia 

5. AnTgua Barbados 

6. Germany 

7. Kuwait 

8. Dominican Republic 

9. Cuba 

10. London 

11. Italy 

12. Afghanistan - The U.S. Military Troops in Afghanistan are now implemenVng 

the Black Belt Dance system to their core wellness programs both abroad, 

and stateside. 

BBS Usage: 

• 28 Dance Genres in development 

• 52 CerVfied Instructors, 18 acVve 

• 2700+ Black Belt students worldwide … and expanding every week! 

“Students will forget what you did, 

Students will forget what you said, 

But they will never forget, 

how you made them feel.” 

- Edie, The Salsa FREAK!!


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What is Black Belt Dance? 

Black Belt Dance (BBD) has taken various Partner Dances and formed a dynamic structured system 

for educaVng teachers and dancers, creaVng some of the finest instructors and social dancers in the 

world! 

The BBD is a unique system of instrucVng teachers and dancers in a progressive system of 

Partner Dancing that transcends former unstructured ways of teaching. Both Instructor and 

Student development is based upon the MarVal Arts system of progression and awards. 

The BBD is a paradigm shib away from the anVquated and less 

structured ways that have been taught in the past. You as an instructor 

or student can walk into any BBD school in the U.S. or abroad and pick 

up where you leb off, rather than having to pay and start as a beginner 

again. That is the beauty of the system.


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What is Black Belt Salsa? 

Black Belt Salsa (BBS) has taken all of the various styles of Salsa and formed a dynamic structured 

system for educaVng teachers and dancers, creaVng some of the finest instructors and social dancers 

in the world! 

The BBS is a unique system of instrucVng teachers and dancers in a progressive system of 

Salsa that transcends On1, On2, Cuban, Colombian or Mambo styles of Salsa. Both Instructor 

and Student development is based upon the MarVal Arts system of progression and awards. 

The BBS is a paradigm shib away from the anVquated and less 

structured ways that Salsa has been taught in the past. You as an 

instructor or student can walk into any BBS school in the U.S. or abroad 

and pick up where you leb off, rather than having to pay and start as a 

beginner again. That is the beauty of the system.


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Weekly 

Group Classes 

World Class Training


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What to Expect… 

Students Need… 

• A fun and friendly social atmosphere. 

• To feel welcome, relaxed and safe. 

• Friends to go to events and parVes with. 

• Freedom to be creaVve with I’ve learned 

• A place and Vme where I can pracVce what I’ve learned. 

• To build upon what I learned the week(s) before 

• Weekend Specialty workshops to perfect my crab. 

• A monthly graduaVon rewarding my progression. 

• To get to dance with the instructor at clubs and in class. 

• To create my own style from the moves I am taught. 

• To be one of the BEST dancers every where I go. 

• To socialize and eat great food aber class! 

How Every BBS School Operates… 

Number of Degrees are flexible, “more or less” 

Artwork by Jacques Ho


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NOTE: 

Number of Degrees per 

belt may vary based on 

class size, new family 

introducVon and/or 

group level(s). 

Workshops

We play 

music a total 

of five times 

during the 90 

minute 

teaching 

session. 

All Circles 

follow the 

same system 

during the 

same 90 

minutes, but 

instruction is 

done at 

different 

levels 

All Circles 

Mingle 

“The Magic 90” 

5 Min 

Instruction, 

5 min Verbal 

Recap & Q&A 

Repetition 

3 min. 

Community Dance 

15 Min 

Instruction 

Teach 

New 

Pattern 

Start 

5-7 min 

Warm-Up 

5-7 min 

3 min. 

DTB of the week Styling 

Go to Circles 

10 Min 

Review 

15 Min 

Instruction 

Teach 

New 

Pattern 

The same EXCITING 

Shines routine is done 

both before and after the 

class – it is never “taught” 

Students must simply 

pick up and learn the 

Shines routine by doing it 

over and over again. 

Creates an addiction to 

come back. You will 

learn it during the “Hour 

of Power” Practice 

session AFTER CLASS 

IS OVER. Or you can 

get each other’s phone 

number and practice offline. 

I do, 

We Do, 

You Do! 


6/2/16 


www.DanceBusinessManagement.com www.BlackBeltSalsa.com www.SalsaFreak.com www.DanceFreak.com 


10

What to Expect… 

YOUR Worldwide RecogniTon at www.BlackBeltSystem.com 

• Once you take your first BBS class, your name will be officially registered at 

White Belt on the Worldwide BBS School Roster online. 

(click on Menu: Graduates > Student Grads). 

This way, should you travel and find another BBS school, you do not have to 

start over at the beginning again. 

• One “Degree” is equivalent to one month. The number of Degrees within a 

Belt Color may expand or decrease in quanVty, depending on speed of the group. 

• Degree expansion is up to each school Sensei. 

Belt Advancement: 

• Progress systemaVcally each month with your fellow classmates. 

• You may also “Test out” to the next Belt level with private lessons and/or Bootcamps. 

• You may move to any degree (month) within a given Belt color. 

• Some Belts will take several months to complete. 

• Degrees within a single color are independent of each other. 

However moving to a new belt color must be done in a subsequent progression, 

once all degrees within that belt level are fulfilled. 

WE START ON TIME - BBS Classes worldwide are REQUIRED to start exactly “on Vme”. 

• Please arrive 20 to 30 minutes early! .:) 7:15pm Class Starts. We will finish at 9:45pm Sharp. 

The “Magic 90” – 7:30pm Tll 9pm 

• This is a solid 90 minutes of learning and repeVVon. Feel free to ask as many quesVons as you wish. 

The BBS Warm Up – 7:30pm Tll 7:40pm 

• Students do some stretching, and the basics of Merengue, Bachata and Salsa, then partner up to pracVce for one minute, then do a quick partner switch to the next person! 

Super Fun! 

This Week’s Styling During Partner work – Great for the ladies! – 7:40pm Tll 7:50pm 

Students do some stretching, and the basics of Merengue, Bachata and Salsa, then partner up to pracVce for one minute, then do a quick partner switch to the next person! 

Super Fun! 

Learning and Growing –– 7:40pm Tll 9pm 

• This is where the Word Famous “Black Belt System“ is learned and applied. Instructors teach the foundaVons of the dance move that week, and then create a paRern to 

prove how the system applied in real-world situaVons. 

The “Fundamental 15” – 9pm Tll 9:15pm 

• This is 15 minutes of reviewing Black Belt FUNDAMENTALS with all the circles together aber the warm up. This is used primarily for schools starVng with various levels of 

experienced Dancers. 

• Every student, at every level should MASTER THE BASICS of lead and follow – FUNDAMENTALS are HIGHLY emphasized and enforced every step of the way. Our 

instructors are trained and instructed to review fundamentals at every level. The “Fundamental 15” is a great way to review your FOUNDATION. 

The “Hour of Power” – 9:30pm Tll Midnight (CRITICAL: “The” most IMPORTANT part of class) 

• This segment is one hour of “one-on-one” repeVVve pracVce with partners, friends, and personal instrucVon from the trainers themselves. Use this Vme make new friends, 

find pracVce partners, socialize, help others, test up to the next Belt Level if you want, and help yourself to the free food and refreshments that come with every class! 

BBS Events!!! The BBS Dance Cruise and “Annual” Rocky Mountain Weekend at a Historical city in Colorado! 

• BBS Events are now being scheduled all around the world! Start Planning NOW!! 






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Specifics 

You will have many Instructors to help you. 

We will place you at the most appropriate Belt level when 

you arrive your first day of class. 

This will involve a small dance, and a few quesVons. Zero 

stress. It will be “fun!” It is best to place you at a level 

where YOU are most comfortable, save the 

embarrassment, and will not hold others up in the same 

group. Note: Only upper-level cer5fied BBS instructors 

are allowed to place students. 

What to Wear / Smell NICE… 

Comfortable conservaVve clothing, shoes with a slippery 

boRom (tennis shoes or sneakers with rubber soles 

prohibits spinning). Ask one of your instructors for places 

to get pracVce dance shoes. We use 

www.DiscountDance.com . Please come showered and 

smelling NICE. Bring extra Deodorant and Breath mints. 

You will be VERY CLOSE to your partners!!! Please take 

FREE Breath mints at the registra5on desk.


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TesTng to Upper Belts 

Like any MarTal Art, to move up one belt color, you must prove you are 

ready for the upper-level group to take you in, and you will not hold them 

back. 

TesTng will be done when YOU feel YOU are ready. No pressure. You 

may test upward at any Vme during the month to any belt color by 

scheduling a test during the “Hour of Power” with any upper-level 

cerVfied BBS instructor. 

You will be asked to demonstrate what you’ve learned, based on what is 

listed in the Captain Kirk course summary overview pages located in this 

document, to advance the next upper-level belt. 

Watch this MoVvaVonal video: 

hRp://www.youtube.com/watch?v=BdCHgzU9beA


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Total 

ApprenTceship 

Training

Edie, The Salsa FREAK!! Personal Website 

Cool Salsa Info!! 

www.SalsaFreak.com 

Black Belt Salsa 

Edie’s “Student Night” at the Turnverine! - Every 3 rd Wednesday of the month! 

She will also DJ that same night – give her your song requests!!! 

Edie’s Story… How She Discovered Salsa !! 

All Dances in Development within the Black Belt System 

Edie’s Personal BBS Cloud Site 

Do you have trouble finding the beat? 

FREE Access your instructor’s online BBS Cloud to help you find the Beat!! 

Click on the following menu link → http://edie.blackbeltsalsa.com > “Rhythm Studies” 

The BBS Cloud Instructor websites have the tools to help them make 

YOU be the BEST dancers in the region!! 

Edie’s Sunday “Specialty” Workshops 

- all of Edie’s workshops are “Live streamed” for viewing / training for BBS Instructors worldwide 

Colorado Salsa Clubs and Socials!! 

Find a continuously updated list here 

The Black Belt System is engineered using “Fractal Theory“ 

Access to the “Complete” BBS Online Course Syllabus 

Videos! 

Dance Business Management (DBM) Online Course 

http://www.salsafreak.com/dj.php 

http://www.dancerhangout.com/content.php?r=351-Edie-s- 

Story-How-She-Discovered-Salsa 

www.BlackBeltSalsa.com 

www.BlackBeltDance.com 

http://edie.blackbeltsalsa.com > “Rhythm Studies” 

www.SalsaFreak.com/workshops 

www.SalsaCentralDenver.com 

http://www.blackbeltsystem.com/bbs_mandlebrot.php 

http://student.blackbeltsystem.com 

www.DanceBusinessManagement.com 

SHOES!!! Great Dance and Practice Shoes! www.DiscountDance.com Search: “Dance Sneaker” 

The BBS TM system is a combination of … 

• Los Angeles Style, New York Preps, Puerto Rican movements, Cuban Motion , European “Flair” for Showmanship 

and Musicality. The system can by applied to dancing on any beat of the music (On-1, On-2, On-3…etc. ) 

The BBS system utilizes optimal Chi Masculine and Feminine Energy / Prana Flow throughout both partners for a World 

Class look and feel. It is simple, direct and non-classical. 

Dance Articles at “Dancer Hangout” online!! 

• Beginner’s Corner 

• “Dear Edie…” Advice column 

• Off-Beat Support Group 

• Relationships in the Dance Scene 

• To Be “The Best…” - what it takes. 

• Religion & Dance controversy 

• Styling & Spins articles 

• Partner Search 

Great Music Stations to practice to on Pandora: 

www.Pandora.com 

Hector Lavoe, Tito Puente, Marc Anthony, Oscar De Leon, Copyright Frankie Dante, 2001 to Willie Present, Colon, By Melcochita Edie, The Salsa FREAK All Rights Reserved 

Updated 6/2/16 Page 15 


http://www.dancerhangout.com/content.php?r=567-Salsa- 

Dance-Styles 

http://www.dancerhangout.com/content.php?r=566-Salsa-Steps 

Click www.DancerHangout.com, look in left column 


Four Ways of Learning the BBS 

Our teaching tools are designed for how your learn!! 

The Four Personality Types ... 

Scoly, from the 

Movie, “Star Trek” 

Capt. Kirk, from the 


Dr. McCoy, from the 


Mr. Spock, from the 



The Socializer 

Pocket Syllabus 

Page 16 

The Director 

Course Overview 

The Relator 

Online Videos 



The Analy0cal 

Step-by-step Detail 

Class Notes 

(instructor access only) 



Page 17 




Scoly 

By DTB Family 

Scoly, from the 

Movie, “Star Trek”


Page 18 




Fold Here 

Fold Here 

Fold Here

Fold Here 

Fold Here 

Fold Here 


Page 19 




Page 20 




How to Run Out of Song 

Puong it all Together 

Poster below is based on Edie's How to... "Run Out of Song Shirt" (R.O.S.S) 

below, that she wears to teach her Pla0num Black Belt Salsa private lesson students. 

The BBS 

Holy Grail 

“A Picture Worth a 

Thousand Moves!!!” 

- Josh Hernandez, KC, USA


Page 21 




ROSS 

How to Run Out of Song Shirt 

First, do the Blade 

Second, do the BBS Basic 

• CBL, then Right-Break Turn 

• CBL, then Leb-Break Turn 

Right-Break Turn 

• She turns Right on 5 

Lep Break Turn 

• She turns Leb on 6 

• Includes a Leb-Break Stop 

Orange: Progressive Leps 

• She turns leb on 6 

• Eye Drop (High Hand) 

• Belly Drop (Low Hand) 

Includes a CBL Stop 

Slants 

Bridge Walk-Thru’s 

• She turns ½ right on 7 

Yellow: Open Break Moves 

Baskets 

Open Break with a hook 

Cumbia & Walk-Thrus 

Copa 

Green Belt Tornados: Spins 

Prepping & ExecuVon 

Orange: Progressive Rights 

• Goatee on 3 

• She turns right on 5 

Slants 

CBL 

• She turns ½ leb on six 

Shadow – He spins her 

same direcVon quickly 

aber she spins 

Camo-Belt Moves 

• RotaVng CBL 

• Reverse Side CBL 

• S-Turns 

• Whips


Page 22 




DTB 

Down The Body 

... from one direcVon 

... then add the other direcVon 

... then add Closed Posi0on 

Now your dance 

combinaVons and 

amalgamaVon 

possibiliVes are 

literally... 

ENDLESS!!!


Page 23 




Captain Kirk 

Curriculum by Degree 

Capt. Kirk, from the 


Capt. Kirk – BBS TM Pocket Syllabus by Belt 


Page 24 





The following pages have ensured every student has had a thorough 

understanding of their expectaVons prior to advancing to the next belt color. 

These pages cover the BBS standards that must be met for mastery of each 

belt color, no maRer how many degrees, or Vme, within that color it took to get 

there. 

Degrees within belt colors will “get students there” over a period of Vme. 

Students may re-take the degrees within that belt color as many Vmes as they 

wish prior to choosing to be tested, when they feel they are ready.

Capt. Kirk – BBS TM White Belt Rubric Test Preview 


Page 25 





Core Fundamentals 

Lead 

Egg (Dance Frame) 

Toes forward 

Pyramids 

Tangerines 

Elbows in front of chest 

Pistol Grip w/ No thumbs 

Split Leads 

Footwork: 

- Right and Leb Break Turns 

- CBL 

- Progressive Leb 

- (same footwork as CBL) 

- Regular Basic 

- Open Break Basic 

DTB – See DTB Page 


Follow 


Toes Pointed Outward 


Limes 

Man Cave w/ No thumbs 

Footwork: 

- Right Break Turn 

- Leb Break Turns 

(apply Pivot technique at the end) 

- CBL 

- Progressive Leb – 

(apply Pivot technique throughout) 

Styling: 

Toes Out 

Posture, Chin Up, shoulder rolls, Hair Combs, Mermaid, 

PreRy Fingers, Broken Wrist - Finger-Egg 

"Vavoom" Technique 

Drag your Feet for balance and control 

Rande, and Reverse Rande 

During any dip or pose, ladies must have either one or 

the other leg straight and toes pointed. 

No air / gaps between legs. 


Partnerwork 

Eye Contact 

#5 ConnecVon 

Frame (egg) 

Spowng 

BBS Basic: 

- Leb Break turn 

- CBL 

- Right break turn 

- Repeat the above 

Timing: 

- Where is the 1 st beat? 

- Staying on beat for 30 

seconds or more.

Scoly – BBS TM Fundamentals Day #1 (Fun Day 1!) 


Page 26 





Scoly – BBS TM Fundamentals Day #2 (Fun Day 2!) 


Page 27 





Scoly – BBS TM White Belt 1 st Degree 


Page 28 





CBL – “Chase Him” 

How to Ask...

Scoly – BBS TM White Belt 2nd Degree 


Page 29 





Capt. Kirk – BBS TM White Overview by Week / Month 


Page 30 





Capt. Kirk – BBS TM White Overview by Week / Month 


Page 31 






Page 32 




Capt. Kirk – BBS TM Orange Belt Rubric Test Preview 





Lead 


Toes forward 

Pyramids 

Tangerines 


Pistol Grip w/ No thumbs 

Mavericks: “Shadow” Technique 

Footwork: 

- Right Break 

- CBL 



- Progressive Right 

- Bridge Walk-Thru 

(right leg in front) 

- CBL Stop 


Follow 


Toes Pointed Outward 


Limes 

Man Cave w/ No thumbs 

Footwork: 

- Right Break 

- CBL 



- Progressive Right 

- Bridge Walk-Thru 

(right leg in front) 

- CBL Stop 

STYLING 

Toes Out 

Posture, Chin Up, shoulder rolls, Mermaid, PreRy 

Fingers, Broken Wrist - Finger-Egg 

"Display" on count five (count 2 if On-2), all three 

direcVons. Cup Dump Smear (aka, "Mascara 

Smear" arm styling) 

HUGE Tissue pull, Display on count five (2 if on-2) 

T-Stance Moves: See Edie's Ladies Styling Volume 

2 DVD for details. 

Covered extensively in "Red Belt" Training. 

"Rande" Leg Techniques off of 

Prog Right and Prog Lebs. 

Partnerwork 

Eye Contact 

#5 ConnecVon 

Frame (egg) 

Spowng 

BBS Basic: 


- CBL 



Timing: 

- Where is the 1 st beat? 

- Staying on beat for 30 

seconds or more.

Scoly – BBS TM Orange Belt 1 st Degree 


Page 33 





Scoly – BBS TM Orange Belt 2 nd , 3 rd , and 4th Degree 


Page 34 





Capt. Kirk – BBS TM Orange Overview by Week / Month 


Page 35 





Capt. Kirk – BBS TM Orange Overview by Week / Month 


Page 36 





Capt. Kirk – BBS TM Yellow Belt Rubric Test Preview 


Page 37 





Lead 


BOCC Footwork and Lead 

- Basket 

- Open Break with Hook 

- Cumba 

- Copa 

Various DTB techniques for the 

above. 

Various DTB High / Low Hand / 

Tailbone “Exits” 


Follow 

Styling 

BASKET STYLING: 

Gather the flowers, Open the Curtains, Smell the fresh 

air, bring it in (fluRer hands) Flamenco placemet (Lowhand 

Mascara Smear) 

OPEN BREAK STYLING: 

“Poke your Eye Out”, dress technique 

Mascara Smear, Dracula, Empress 

Hammerlock, arm up and hair comb technique 

Shoulder Rolls 

Head Roll Endings 

COPA STYLING: 

4-Cross, Low Mascara Smear, Goncho, Rande, Body 

Wave, Head Roll Endings 

CUMBIA STYLING: 

Unveil and "Vanity" techniques 

Ref: Edie's Ladies Styling Volume One DVD. 

Hip Hits 

The following DVD Series also demonstrates 

excellent Ladies Arms Styling: 

hRp://www.dancefreak.com/categorylinks.php#ladies_specialty_bundle 


Partnerwork 

Eye Contact 

#5 ConnecVon 

Frame (egg) 

Spowng 

BBS Basic: 


- CBL 



Timing: 

- Dancing On-1 

- Dancing On-2

Scoly – BBS TM Yellow Belt 1 st, 2nd, 3 rd , and 4 th Degree 


Page 38 





Capt. Kirk – BBS TM Yellow Overview by Week / Month 


Page 39 





Capt. Kirk – BBS TM Yellow Belt Rubric Test Preview 


Page 40 





Scoly – BBS TM Yellow Belt 1 st, 2nd, and 3 rd Degree 


Page 41 






Page 42 




Capt. Kirk – BBS TM Camo Belt Rubric Test Preview 





Lead 

Opposite Side CBL Lead 

CBL Stop into a Leb Turn 

RotaVng CBL (RCBL) Lead 

Footwork: 

Opposite Side CBL 

CBL Stop into a Leb Turn 

RotaVng CBL (RCBL) 


Follow 

Mascara Smear (or cup/dump/ 

smear) 

Karate - Head Roll Ending 

Headache through a Bridge / Walk 

Thru 

Shoulder Rolls 

"Vavoom" prior to back rock step 

Same CBL and Progressive Styling 

as Orange 

Toe Taps on Contra-Beat, 

"Collapse" on Contra-Beat 

(normally counts #2, and #6, 

whether dancing On1 or On2) 

Circle move: Pivots are a MUST!! 

- She “places book on shelf” 

Partnerwork 

Eye Contact 

#5 ConnecVon 

Frame (egg) 

Spowng 

BBS Basic: 


- CBL 



Timing: 


- Dancing On-2

Capt. Kirk – BBS TM Camo Overview by Week / Month 



Page 43 


www.DanceBusinessManagement.com www.BlackBeltSystem.com www.SalsaFreak.com BlackBeltSalsa.com

Capt. Kirk – BBS TM Camo Belt Rubric Test Preview 


Page 44 





Scoly – BBS TM Green Belt 1 st, and 2 nd Degree 


Page 45 






Page 46 




Capt. Kirk – BBS TM Green Belt Rubric Test Preview 





Lead 

Lead a high-speed mulVple spin leb 

or right: 

1. In-place 

2. In a progression 

3. How to STOP the above spins. 

Execute a Touch-n-Go. 

MulVple Leb in-place and 

progressive Spins into a RotaVng 

CBL. 

MulVple Leb in-place and 

progressive Spins into an Aqua Dip 

SPOTTING 

Footwork: 

Make sure to step on EVERY BEAT 

of the music DURING her spin(s). 

Follow 

Footwork: 

In-Place High Speed Prep, 

- both Leb and Right direcVons. 

Progressive High Speed Prep, 

- both Leb and Right direcVons. 

SPOTTING 

Styling: 

Minimal steps, drag the feet, and punch 

Finger Egg, shoulder rolls, head whip at the 

end of the last spin, back and side head Vlts. 

Spowng!! 

Body Wave Ending aber high-speed mulVple 

spins 

Pivot Endings aber high-speed mulVple spins 

Knee up with pointed toe during high-speed 

mulVple spins 

Head Back and face up with an ending Vlt 

toward ceiling during high-speed mulVple 

spins 

Partnerwork 

Eye Contact 

#5 ConnecVon 

Frame (egg) 

Spowng 

BBS Basic: 


- CBL 



Timing: 


- Dancing On-2

Capt. Kirk – BBS TM Green Overview by Week / Month 


Page 47 





Capt. Kirk – BBS TM Green Belt Rubric Test Preview 


Page 48 





Scoly – BBS TM Purple Belt 1 st, 2nd, 3 rd , 4 th, and 5 th Degree 


Page 49 






Page 50 




Capt. Kirk – BBS TM Purple Belt Rubric Test Preview 





Lead 

Right Turns on 1, 3, and 6 (On1) 

Right Turns on 6, 1, and 3 (On2) 

Leb Turns on 2, 5, and 7 (On1) 

Leb Turns on 7, 1, and 2 (On2) 

Footwork: 

Review of Foot placement, making 

sure to step on EVERY BEAT of the 

music. 

Follow 

A true challenge to the follower. 

She will be turning on counts never 

before encountered. 

This is where her true “TEST” of 

following comes in. 

At Purple Belt, the Follower is not 

allowed to “assume” nor predict 

what the leader will do. 

Partnerwork 

Eye Contact 

#5 ConnecVon 

Frame (egg) 

Spowng 

BBS Basic: 


- CBL 




STYLING 

- Apply ALL Styling from above 

Belts 

Timing: 


- Dancing On-2

Capt. Kirk – BBS TM Purple Overview by Week / Month 


Page 51 





Capt. Kirk – BBS TM Purple Belt Rubric Test Preview 


Page 52 





Scoly – BBS TM Blue Belt 1 st, 2 nd and 3 rd Degree 


Page 53 





Coming Soon... !! 

J


Page 54 




Capt. Kirk – BBS TM Blue Belt Rubric Test Preview 





Lead 

Hand Toss and Drop-Hand Catch 

Fundamentals 

Follow 


Fundamentals 

Arm, Hand and Finger Styling 

Partnerwork 


Fundamentals



Page 55 







Page 56 





Capt. Kirk – BBS TM Course Overview by Belt 


Page 57 





Weekend Workshop 

Belts 

Brown Student Belt: 

• “Spins” Male / Female 

Red Student Belt: 

• “Styling” 

Black / Red Student Belt: 

• “Musicality” 

Black Belt 

• Libs, Tricks, Choreography 

and Performing

Updated 6/2/16 Page 58 


ApprenTce Board 

Curriculum Summary through Blue Belt


Page 59 




Dr. McCoy 

Online Student Curriculum Videos 

Dr. McCoy, from the 



Page 60 




BBS 

Course Videos 

BBS Students may now access 

the ENTIRE Course Curriculum 

ONLINE! 

Watch the moves you are taught in 

class and PRACTICE all week! 

Access: 

hRp://student.blackbeltsalsa.com


Page 61 




Worldwide Instructors Team 

Tools and Support 

Dance Business Management 

Direct Path to Teaching 

… FASTER and SMARTER 

Mr. Spock, from the 



Page 62 




BBS History 

Black Belt Dance was created by Edie Williams, also known as 

“Edie, The Salsa FREAK!!” Read her personal story of how Edie discovered Salsa here… 

Over a period of twenty years teaching in hundreds of ciVes throughout 64 countries 

throughout the world, Edie revealed a “system” of conducVng classes and systemaTzing 

dance moves (not just Salsa) that magically created some of the best social dancers where 

ever she traveled. 

Tired of seeing anVquated / broken ways of conducVng classes, performing and promoVng, 

she decided to help her fellow (broke) colleagues by creaVng the Dance Business 

Management (DBM) online course in 2000. 

Upon her reVrement in 2009, she decided it was Vme to roll up her sleeves and reveal her 

“system” of more effecVvely teaching dance moves to the enVre world. She taught herself 

how to use the latest in online cloud technology to develop an online Cloud database and 

worldwide teaching support mechanism called the “Black Belt System Cloud” so that 

teachers in every naVon could more effecVvely develop themselves individually as World 

Class instructors, and in turn, create some of the best social dancers in their regions. 

In 2012, with the help of a core group of dedicated instructors, students, beta testers, and 

advisors, the Black Belt Dance Online System was born. Now students from every corner of 

the globe can share the in joy of learning from some of the best instructors the world has 

ever known… the Black Belt Instructor team.


Page 63 




What is Salsa? 

SALSA ORIGINS 

by Max Salazar 

The popular usage of the word “salsa” for danceable LaVn music began in 1933 when Cuban song composer Ignacio 

Piñerio wrote the song Échale Salsita. According to the late Alfredo Valdés Sr. whom I interviewed in 1974, he said 

“On July 6, 1933, I married Anita Purmuy, guitarist for the all-female band La Anacaona. I didn’t have a honeymoon 

because hours later I was on a boat with Nacional (Septeto) headed toward Miami…then on to the Chicago World’s 

Fair. On the train I rehearsed Ignacio’s new work Échale Salsita. He got the idea aber tasVng food which lacked the 

Cuban spices. It was a protest against tasteless food. 

During the late 30’s while the Hispanic community was sprouVng in Spanish Harlem, Gabriel Oller, proprietor of 

Tatay’s Spanish Music Center on the corner of 110th Street and 5th Avenue remembers shouts of “échale pique, 

caliéntalo, menealo que se empelota…” used to describe the thrilling Afro-Cuban dance rhythms of rumbas and 

guarachas. Salsa remained dormant unVl 1962 when Secco Records released Joe Cuba’s Stepping Out LP. In Jimmy 

Sabater’s tune Salsa y Bembé, vocalist Cheo Feliciano wants his main squeeze to add salsa to the bembé (dance) 

when she dances. The lyrics suggest that there is a request for the dancer to liven up or spice up her performance. 

“When I wrote this tune,” said Sabater, “I was labeling the music as salsa…you know exciVng. When musicians were 

asked to spice up the music there were shouts of “guataca”. When the band executed the mambo part, I heard 

shouts of “wapachosa”. These were labels which never caught on. My use of salsa was to describe the music, not 

the food.”


Page 64 




What is Salsa? (Continued…) 

A year later Alegre Records released Charlie Palmieri’s charanga LP Salsa Na Ma. In the Henry Alvarez tune Salsa Na 

Ma, the chorus of Victor Velasquez and Willie Torres suggest that when they dance with their partners it is Salsa na 

ma…Que cosa rica (a joy).” However, Al SanVago’s liner notes described the music as salsa when he wrote “La 

Duboney (Palmieri’s band) is a musical aggregaVon that funcVons as an individual unit and possesses that all 

important ‘sauce’ necessary for saVsfying the most demanding of musical tastes. It is for this reason that this LP 

album offering is Vtled Salsa Na Ma. 

On November 20, 1964, the Cal Tjader Quintet plus 5 had just finished recording a long version of Guachi Guaro, 

another version of Tjader’s first hit recording in 1954, Wachi Wara. Aber hearing it back, Tjader was unsaVsfied, it 

lacked something, but he did not know what. Creed Taylor, producer of the album (which had no Vtle at that 

moment) suggested a shorter version and a new Vtle in that Guachi Guaro would be difficult to pronounce and it 

meant nothing. Tjader invited Willie Bobo to dub the jawbone (quijada). While doing so, his inspiraVons of Sabor, 

Sabor, Salsa Ahi Na Ma,not only saVsfied Tjader, but gave Tjader the idea for the album’s name Soul Sauce (Salsa 

del Alma). Bobo explained to Tjader that this track and the others: Pantano, Maramoor, Tanya and Leyte, were 

fiery, exciVng like a well seasoned sauce. Thus the album Soul Sauce exhibits a fork on a plate of red beans and chili 

alongside an opened boRle of Tabasco sauce with a label on it, Cal Tjader Soul Sauce. This is the third Vme music is 

described as salsa and the Mexican Tjader fans of San Francisco began using the word to describe Tjader’s brand of 

music. It spread to Los Angeles and other ciVes and its way east via the Spanish, rhythm and blues and jazz 

programs across the United States which helped Cal Tjader sell 150,000 albums. Prior to this, LaVn music had never 

been aired over staVons with different music formats.


Page 65 





In 1965 while the west coast Mexican populaVon was using salsa for uptempo LaVn music, the Afro-American 

populaVon of New York started another trend. What was salsa on the west coast was a-zoo-ka in New York City. 

“Please, Eddie (Palmieri), sweeten it…give it a liRle sugar,” a request to spice up the music with a unique Palmieri 

montuno. Palmieri composed and recorded the blockbuster Azucar but the word never caught on outside of New 

York. Four years later, Carlos Santana’s Oye Como Va aRracted youths of all ethnic backgrounds to his music, and 

conga drums were sold like never before across the United States. 

On August 26, 1971, the Fania arVsts congregated at El Cheetah nightclub in midtown ManhaRan for a concert and 

dance which resulted in the movie “Our LaVn Thing.” In the movie, salsa is never menVoned. The movie premiered 

July 19, 1972 at the Line 2 theatre at 48th and 7th Avenue, NYC. It received favorable reviews from the Daily News 

and the New York Times. But nowhere in the review was salsa menVoned. In the 1972 Mexicana LP Rey Roig Aqui 

Llegó, vocalist Julian Llano’s lyrics were about the sauce for his aRracVve female neighbor in the bomba-son Triago 

Salsa. 

In January 1973, Peter Rios gave arVst/illustrator Izzy Sanabria the right to use the LaVn New York magazine Vtle 

which Rios owned in 1967-68. LNY issue number four dated April 16, 1973 had an ad for Alegre LP cover of Roberto 

Angelero’s Guaya Salsa. In issue number five, May 28, 1973, there are photo ads of the Mexicana LP’s Salsa Hits from 

Orq Power and Tempo 70, and Louie Colon’s United ArVsts Mas Salsa que Pescao. In the issue number eight, Sept/ 

Oct 1973, there are photo ads of “Cheetah, Home of the Salsa” and VicenVco Valdés new Tico label release Amor con 

Salsa. In issue number nine, November 1973, there is a photo ad of vocalist Roberto Torres’ Mexicana LP, El 

Cas5gador is the New Salsa Sensa5on Roberto Torres.


Page 66 





There is also an illustraVon of Izzy Sanabria in a cartoon form with an announcement” a new Salsa music TV show on 

WXTU channel 41, premiering Saturday, November 17,1973 at 6:30 pm.” In the same issue is a photo ad of the DJ 

Polito Vega which reads “100% Salsa WBNX Mon-Fri 7:30 to 9:30 p.m.” In issue number 12, February, 1974, there is 

a full page ad of the LaVn Music FesVval Musical number five, with the names Celia Cruz, Ray BarreRo, Johnny 

Pacheco, Tipica 73, Machito Orquestra and the Apollo Sound. Not once was salsa menVoned. 

In March, 1974, Mexicana Records released Rey Roig’s LP Otra Vez in which Julian Llano sings Pescao en Salsa. 

During the same month, Fania Records released Larry Harlow’s Salsa, recorded November 26 and 27, 1973. This 

album placed Harlow among the top five most popular bandleaders and the LP enjoyed enormous sales. Aber this, 

mostly every recording of Afro-Cuban rhythms and anything that was exciVng in LaVn music was labeled salsa and 

the anglo market which had abandoned the music went the cha cha cha followed the mambo popularity in 1956, 

came back into the fold. In Billboard’s magazine June 12, 1976 issue dedicated to LaVn music, there was a 24 page 

supplement magazine called “Salsa Explosion.”… 

If what is wriRen here is accepted as its best evidence, then it appears that Jimmy Sabater coined the word salsa to 

mean uptempo LaVn music. Cal Tjader’s Soul Sauce and Santana’s Oye Como Va gave the salsa movement thrust and 

its beginning was with the Mexicans in San Francisco. But it did not become popular usage unVl aber LaVn New York 

magazine used it over and over in its ads and stories and the Fania All Stars used it to describe its music outside New 

York. Aber that kid kicked the can in the opening scene of the movie Our LaVn Thing and the wow wow synthesizer 

of Luis Cruz Jr. to Ray BarreRo’s Cocinando Suave began to sound and raise goose bumps on flesh, did the Salsa 

explosion detonate. 

The mushroom cloud fallout has been felt around the world.


Page 67 




Where do Latin Rhythms 

Come From? 

IntroducTon 

From the 17th to the 20th century, the Americas and the Caribbean islands were colonized with a immense 

blending of race, language, religion and music. Drumming being an integral part of very day life in Africa, the 

LaVn music we hear today mostly originate from the rhythms the African slaves brought to the new world. 

Cuba 

Cuba (from the Indian word "cubanacan", meaning center place), is the island where most of the rhythms covered in 

these pages originates. That's why they are called "Afro-Cuban" rhythms. 

Members of the Indians tribes Tainos and Caribs were the first slaves brought to the island for the sugar producVon. 

Under Spain, they were were forced to speak Spanish and accept ChrisVanity, slaves gave their African gods the names 

of ChrisVan saints and conVnued to worship them in their naVve languages. This form of worship is known has "Santeria", 

it preserves many African religious, ritual and musical tradiVons and is sVll pracVced today. In those ceremonies, you can 

hear West African rhythms in their nearly original form. The hourglass shape bata drum is used in Santeria to contact the 

orichas (deiVes believed to represent and control the forces of nature. 

The son, one important form the the merging of African and Spanish influences resulted in, it is the root of most familiar 

styles of Afro-Cuban dance music. A blend of the music of the Spanish farmers (campesinos) and African slaves, it is 

believed to have originated toward the end of the 19th century slavery was abolish in 1878), in Oriente, the eastern 

province of Cuba. It was played by small bands, using guitar or tres, maracas, guiro, claves, bongo, a marimbula and a 

boVja. The more urban style played in Havana at the beginning of the century became a naVonal style in 1920. 

In the '20s, the addiVon of a string bass to replace the marimbula and boVja and a trumpet were the main addiVons to the 

son. A great blind tres player, Arsenio Rodrigez revoluVonized the son in the late 30s. He expanded the form by including 

tumbadora (conga drum), a cowbell, a piano and two addiVonal trumpets. With Rodrigez, the escribillo secVon (call-andresponse) 

became a full blown montuno or mambo secVon, with heavy rhythms to backup solos. This later gave rise to 

the dance we know as the mambo. 

During this Vme, tumbao was also developed, the guaguanco was worked into the son style, the tres became an 

important solo instrument and (most importantly for these pages) there was greater use and adherence to the clave 

rhythms. The Cuban sound provided the basis for the LaVn jazz styles of the '40s, the dance orchestras and the salsa 

bands we sVll hear today. 

hRp://www.formedia.ca/rhythms/origins.html


Page 68 




Mambo 

THE MUSIC 

The word Mambo has a variety of meanings. For musicians mambo refers to an expanded 

rhythm secVon at the end of the danzon (iniVally called danzón Nuevo ritmo) introduced by 

Antonio Arcaño’s group in the late 1930s. Arcaño labeled this upbeat secVon “Mambo”, 

borrowing the Vtle from a composiVon by his bassist Orestes “Cachao” Lopez. (A gibed 

composer and bandleader who in his 90’s sVll performs around the world). In the 1950’s 

Cuban-borne, Perez Prado’s vaulted Mambo to world wide prominence (propelled by his 

popularity in Mexico and the US) and spiked his mambo with lush jazzy arrangements, 

infused with throbbing congas and high-octane brass voicings. 

Mambo also means a repeaVng instrumental phrase played in unison by the rhythm secVon 

(piano, bass and percussion) which bridges different secVons of a composiVon. 

... hRp://www.youtube.com/watch?v=0XPsPHXcZuE 

… hRp://www.youtube.com/watch?v=QDzCVGNs3VU&feature=related 

hRp://www.salsaroots.org


Page 69 




Son 

THE MUSIC 

Son was created by Afro-cubans in the Oriente (eastern region) province of Cuba, in communiVes like SanVago and 

Guantanemo. Son is the music of the rusVc countryside and is the grandmother of current day salsa. Son emerged in the 

late 19th century and “…is a Cuban synthesis: Bantu percussion, melodic rhythm, and call-and –response singing melding 

with the Spanish peasant’s guitar and rhythm”(SubleRe 2004 pp333). Many authors suggest that Son as well as other 

aspects of Oriente’s music, dance and culture were significantly influenced by the freed African slaves who emigrated into 

the region aber their emancipaVon following the HaiVan War for Independence. 

The sounds of the early Son were earthy and informal and the music could be played with liRle more than vocals, tres, 

guitar and hand percussion. But as it traveled into Havana, the sound became more urbanized. Son probably appeared in 

Havana around 1909, reportedly brought in by Cuban soldiers from the countryside. By 1920, the ensemble Sexteto 

Habanero, introduced the formal six instrument lineup called the sexteto. Sextetos are comprised of guitar, tres, 

contrabass (replacing the marimbula and/or the boVjuela in musical style changui), bongo, maracas and claves. In 1927 

the legendary group Septeto Nacional lead by Ignacio Piniero added the trumpet (creaVng a conjunto) further expanding 

the melodic and improvisaVonal possibiliVes. Later son groups expanded, folding two to four trumpets and more singers. 

In the 1940’s Arsenio Rodriguez a conjunto) transformed the Conjunto instrumentaVon by adding a piano and conga 

drum and emphasis to a musical secVon of the typical Son form called the montuno(vamp) secVon. 

Over the years, the son has merged with other musical styles and produced other musical forms such as afro-son, rumba 

son, son montuno, son-guajira 

• hRp://www.youtube.com/watch?v=eRNjGp0bTn0&feature=player_embedded 

• hRp://www.youtube.com/watch?v=1DvHHAi-F4I&feature=player_embedded 

• hRp://www.youtube.com/watch?v=7oCudVfHZ88&feature=player_embedded# 

• hRp://www.youtube.com/watch?v=8NrhmpGg24I&feature=player_embedded 



Page 70 




Danzon 

THE MUSIC 

Danzon evolved in Cuban in 19th century descendant of European court dances (contradanza and danza). Scholars believe 

contradanza and danza were brought to Cuba by the HaiVan and French colonists who flooded Cuba aber the HaiVan 

revoluVon. Miguel Faílde Pérez created the first Danzon in 1879 in Matanzas. Dr. Olavo Rodriguez reports that, 

“The danzon had structural elements that differ from those of the danza. The second secVon(B melody) was no longer 

done in the AB-AB structure but in an AB-AC. There were many danzones however, wriRen in the same form as the danzas 

and contradanzas. These binary periods were increasingly repeated and invariably the new second (B) was different from 

the previous one…From that moment on, it ceased to have a binary form and assumed a rondo form with a variable 

number of parts (AB-AC-AD etc) where the ritonello (A) was called the introducVon, and alternated with different secVons 

that were called: first danzón (B), second danzon(C), third danzon (D) and so on. These secVons differed among themselves 

mainly in their musical character, and orchestraVon. As a result of this second factor; the first danzon was also called “the 

clarinet part”, and the second danzon “the violin part”. The orchestraVon of the third danzon had a very varied 

structure.” (Rodriguez 1998) 

A new element appeared in danzon when Jose Urfe in the 1900’s, added an estribillo secVon (repeated music figure), an 

element heard in his composiVon “El Bombin de BarreRo.” In 1926 Antonio Maria Romeu spiced up the estribillo secVon 

by adding a piano solo. Danzones were played by ensembles called orquesta Vpicas and later groups called charanga 

francesas (now called charangas). For more on charangas, go to the secVon called “Charanga Forever” 

• hRp://www.youtube.com/watch?v=PJEDJE-rHXc 

• hRp://www.youtube.com/watch?v=ppCbDr1gMxs&feature=related 

• hRp://www.youtube.com/watch?v=hpPOO3oZABE&feature=related 



Page 71 




Bomba 

THE MUSIC 

Bomba represents the survival of Afro-Puerto Rican tradiVons in a nearly pure form. Bomba has been celebrated in the 

east and northeast region of Puerto Rico, primarily in Fajardo and Loiza since the early 1800s. Some historians suggest that 

the dance originated from African slaves brought from Ghana, probably descendents of the Akan people. Others have 

noted that from the end of the 19th century unVl the end of slavery in Puerto Rico, slaves were not brought directly from 

Africa to Puerto Rico but came from other Caribbean islands. These slaves probably incorporated French, Spanish and 

English influences into their music and dances. 

The slaves originally danced Bomba was danced on the sugar cane plantaVons or in the plazas of the town square. Bomba 

is usually performed with dancers, singers and musicians. TradiVonally the drummers sit together in a line playing a 

variety of percussion instruments. The songs have the African based call-response structure, in which the lead singer 

begins the song and is answered by a melody sung by the chorus. The songs include African words and phrases and the 

lead singers mprovises in response to the drumming. 

The instrumentaVon of Bomba groups are two drums, a cua and one maraca. The Bomba drums, the buleador and 

subidor, were tradiVonally made from rum, nail or lard barrels. Goat skins are is aRached to one end of the barrel and 

aRached in holes along the sides of the drum. The hide is heated and stretched across the top of the drum. A series of 

ropes or screws that Vghten the drum head and tune the instrument. The Bomba drums, shorter and wider than the more 

well known conga drums, have a deeper, fuller sound. The buleador, the larger drum, has a low bass tone and maintains 

the fundamental, constant rhythm throughout the dance. The subidor, the smaller drum, has a higher pitch and used for 

the improvisaVonal rhythms that are evoked from the dancers’ movements( “piquetes”). 



Page 72 




Bomba 

The single maraca was originally made from the hollowed shell or gourd of the "crescenVa cujete”, an evergreen tree 

found in Puerto Rico. A piece wood is inserted into the maraca and becomes the handle. Large numbers of small dried 

perona seeds inside the maraca produce the disVncVve, sound. 

The cua was originally two sVcks that were played by hiwng the base of the buleador. More recently the cua is two large 

bamboo poles that are played with sVcks. Wooden sVcks (palillos) are also used for the higher pitched sounds. 

(GROUP DANCING PIX) Bomba has three disVnctly regional styles developed in the communiVes in the north, south and in 

the town of Loiza. Thought is not clear of Loiza was the birthplace of Bomba; it has become the center of the movement to 

preserve Bomba. In Loiza, people dance Bomba socially and not solely as in the context of staged performances. Every July 

the Patrons Saints Day FesVval of Loiza Aldea features 10 days of Bomba music and dance e designed to commemorate the 

victory of St James, the patron saint. The Ayala and Cepeda families have been major forces in conVnuing this fesVval and 

preserving the tradiVons of Bomba. 

Bomba is a family of rhythms and dances including sica, yuba, holandes, guembe and danue. The sica rhythm was 

originally developed in Santurce and Mayaguez. The sica rhythm is a slower tempo and evokes more sensuous feeling. The 

yuba rhythm is much faster and upbeat. The holandes, oben used at the end of Bomba performances, is a faster, 

syncopated rhythm. 

• hRp://www.youtube.com/watch?v=WER-QnHFQlk 

• hRp://www.youtube.com/watch?v=-CfXywxuw4w&feature=related 

• hRp://www.youtube.com/watch?v=tXHxcGgClc4&feature=related 

• hRp://www.youtube.com/watch?v=QL_9tFKUI94&feature=related 

• hRp://www.youtube.com/watch?v=13zKOpRqYN4&feature=related 



Page 73 




Cha Cha Cha 

THE MUSIC 

In 1951, Cuban composer and violinist Enrique Jorrín Enrique Jorrín introduced the first 

cha-cha-chás, La Engañadora and Silver Star delighVng dancers at Silver Star society, a 

popular dance spot at the corner of Prado and Neptuno in Centro Habana while playing he 

was playing with the charanaga group Orquesta America of Ninon Mondejar. 

Jorrin said that the shuffling sound of the dancers’ footwork during the montuno 1secVon 

of the danzon inspired him to create the rhythm. 

Cha Cha Cha, closely linked to mambo, was originally called "mambo-rumba" and later 

"triple mambo" or "mambo with guiro rhythm". 

• Music: hRp://www.youtube.com/watch?v=ylX5KYwlqn4&feature=player_embedded# 

• Dance (Cha Cha Cha Cubano) hRp://www.youtube.com/watch?v=nqbuExtbfVQ&feature=related 



Page 74 




Rumba 

THE MUSIC 

Dr. Olavo Alen Rodriguez writes, 

Rumba is a secular dance/ music and vocal style that was created by the working class and poor black Cubans in 

Matanzas and Havana during the late 19th century. Social gatherings on the docks and in the communal living 

spaces called solares produced rumba. The explosive energeVc drumming and sensual body movements of rumba 

spread all over Cuba and now is fundamental element of Salsa. Rumba has three disVnct styles: yambú, guaguancó 

and Columbia. 

According to Dr. Olavo Alen Rodriguez, 

“The instruments usually used were the side of wardrobe or an empty drawer turned upside down. The steady beat 

(repiquetear) was carried by striking a couple of spoons together or by using them to beat on a frying pan to 

achieve a polyrhythmic beat…From the wardrobes, drawers and frying pans rumba-players went on to use crates of 

different sizes…Besides the crates, there is a solo vocalist who also played the claves to stabilize the polyrhythmic 

nature of the general beat. 

• Rumba Columbia: hRp://www.youtube.com/watch?v=ZjNj81Eb73k 

• Rumba Columbia Dance: hRp://www.youtube.com/watch?v=HQU1z4QLz-c&feature=player_embedded 

• Rumba Yambú (which is slower than the Columbia): 

hRp://www.youtube.com/watch?v=07ShU_dmnf8&feature=PlayList&p=BDDF0FDFDA2ED18F&playnext_from=PL&playnext=1&index=33 

• Rumba Yambú Dance: hRp://www.youtube.com/watch?v=C7dKKN2opCA&feature=player_embedded 


Guanguanco 

THE MUSIC 

Guaguancó is a sub-genre of Cuban rumba, a complex rhythmic music and dance style. The tradiVonal line-up consists of: 

Three drums, similar to conga drums: the tumba (lowest), llamador (middle, playing a cross-clave counter rhythm), and quinto (highest, 

solo drum). These parts may also be played on calones, wooden boxes. 

Claves a solo singer the coro (chorus) two dancers, one male, one female. 

Other instruments may be used on occasion, for example spoons, palitos(wooden sVcks striking the side of the drum) or qu 

(kind of woodblock). 

Some historians have suggested that the guaguanco may be derived from the yuka, a secular dance of the Bantu people. It became disVnct from 

other forms of rumba, such as yambu and Columbia, in the mid-1800s. Usually danced by a male-female couple, it represents a flirtaVous, sexual 

game and includes a disVncVve body movement called vacunao (pelvic thrust) performed by the male dancer (also found in other African-based 

dances from LaVn America). 

During a number, dancers, lead vocal and quinto interact in a complex manner: 

"The couple begins to dance -- the male dancer is more acVve as he circles around her without touching her. The dance climaxes as the 

male aRempts to give the vacunao when the female is unprepared to avoid it. Much of her dancing experVse resides in her ability to 

enVce the male while skillfully avoiding being touched by his vacunao." 

References 

• Orovio, Helio 2004. Cuban music from A to Z. p191 

- Boggs, Vernon 1992. Salsiology. 

• hRp://www.youtube.com/watch?v=MDgXR14hyk&feature=related 

• hRp://www.youtube.com/watch?v=s4nXkzi4koU&feature=related 

• hRp://www.youtube.com/watch?v=DdgURtb83VM&feature=related 


Page 75 

hRp://en.wikipedia.org/wiki/Guaguanc%C3%B3 


www.DanceBusinessManagement.com www.BlackBeltSalsa.com www.SalsaFreak.com www.DanceFreak.com 75 



Page 76 

Cuban Dancing is very Different than Western influenced Salsa Dance Styles. New York Style 

Salsa was largely influenced by the Hustle. LA Style Salsa was influenced by West Coast Swing. 

There is a very high concentraVon of Cuban style dancers scaRered all over the world – with the 

United States being the least populated because of the USA/Cuban embargo of 1959. 




Cuban-style Salsa, is also known as Casino. Rueda de Casino is Cuban-style Salsa danced in a circle where couples trade off each other’s 

partners. 

Very lille "tradiTonal Salsa” exists inside of Cuba, the most influenVal foreign ’Salsero' being Venezuelan Oscar D'León, who is one of the 

few Salsa arVsts to have performed in Cuba. Singer, Celia Cruz, who was born in Cuba and became famous with the group Sonora 

Matancera, never again performed in Cuba aber Fidel Castro assumed control in 1959. 

RUMBA 

There are various styles of Afro-Cuban Rumba music and dance, but all have strong influences from African drumming and dance and 

Spanish/Gitano poetry, singing and dance. In Rumba music, the Clave beat (2-3 or 3-2) plays a very important role. 

Afro-Cuban Rumba is enVrely different than Ballroom Rumba or the African style of pop music called Rumba. Rumba developed in rural 

Cuba, and is sVll danced in Havana, Mantanzas and other Cuban ciVes as well as rural areas, although now it is infused with influences from 

Jazz and Hip Hop. 

The three basic types of Rumba include: 

1. Guaguancó 

2. Columbia 

3. Yambú 

Cuban MoTon 

AuthenVc Cuban Technique differs from 

Classic Ballroom Technique 

1. Upper (not lower) Body Movement – 

2. Rib Cage Movement, back and forth 

3. Elbows pulling each rib, back and forth 

4. Chair exercise 

hRp://en.wikipedia.org/wiki/Cuban_Rumba

Rumba Yambú 

Rumba Guaguancó 

The term Guaguancó originally referred to a narraVve song style (coros 

de guaguancó) which emerged from the coros de claves of the late 

nineteenth and early twenVeth centuries. Rogelio Mar‰nez Furé states: 

“The old folks contend that strictly speaking, the Guaguancó is the 

narraVve.” 

The dance is performed with good-natured humor. 

Guaguancó is a couple dance of sexual compeVVon between the male and female. 

The male periodically aRempts to “catch” his partner with a single thrust of his pelvis. 

This eroVc movement is called the vacunao (‘vaccinaVon’ or more specifically ‘injecVon’), a gesture derived from yuka and makuta, 

symbolizing sexual penetraVon. 

hRps://www.youtube.com/watch?v=TPqWwldJHI0 

The vacunao can also be expressed with a sudden gesture made by the hand or foot. The quinto oben accents the vacunao, usually as 

the resoluVon to a phrase spanning more than one cycle of clave. Holding onto the ends of her skirt while seducVvely moving her upper 

and lower body in contrary moVon, the female “opens” and “closes” her skirt in rhythmic cadence with the music. The male aRempts 

to distract the female with fancy (oben counter-metric) steps, accented by the quinto, unVl he is in posiVon to “inject” her. The female 

reacts by quickly turning away, bringing the ends of her skirts together, or covering her groin area with her hand (botao), symbolically 

blocking the “injecVon.” Most of the Vme the male dancer does not succeed in “catching” his partner. 

Vernon Boggs states that the woman's "dancing experVse resides in her ability to enVce the male while skillfully avoiding being touched by his vacunao.” See: Guaguancó performed by Los 

Munequitos De Matanzas. Arcata Theatre, Arcata, CA 21 July 1992. 

hRp://www.youtube.com/watch?v=m-9JLuvoSPI 

Rumba Columbia 

Columbia (not "Colombia") is a fast and energeVc rumba, in a triple-pulse (6/8, 12/8) structure, and oben accompanied 

the standard bell paRern struck on a guataca ('hoe blade') or a metal bell. Columbia originated in the hamlets, 

plantaVons, and docks where men of African descent worked together. 

According to Cuban percussionist, singer, composer, and historian Gregorio 'el Goyo' Hernandez, who became widely 

recognized as a specialist in Cuban rumba aber his album La Rumba Es Cubana: Su Historia, Columbia originated from 

the drum paRerns and chants of religious Cuban Abakuá tradiVons. The drum paRerns of the lowest conga drum is 

essenVally the same in both Columbia and abakuá. The rhythmic phrasing of the abakuá lead drum bonkó enchemiyá is 

similar, and in some instances, idenVcal to Columbia quinto phrases.The following abakuá bonkó phrase is also played 

by the quinto in rumba. 

hRps://www.youtube.com/watch?v=pCilnTcXKk8 

hRps://www.youtube.com/watch?v=z2HPX9TiP8o#t=11 

Yambú is older than Guaguancó, and is someVmes called the old people's rumba. It uses the slowest tempo 

of the three rumba styles and incorporates movements feigning frailty. 

Yambú can be danced alone (especially by women) or by men and women together. 

Although male dancers may flirt with female dancers during the dance, they do not use the vacunao of 

Guaguancó. 


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Timba 

Though quite similar to Salsa on the surface of things due to origins from Son heritage, Timba has certain qualiVes of its own which disVnguish it from 

Salsa, similar to the way American R&B is disVnguished from soul. In general, Timba is considered to be a highly aggressive type of music, with rhythm 

and "swing" taking precedence over melody and lyricism. Associated with Timba is a radically sexual and provocaVve dance style known as despelote 

(literally meaning chaos or frenzy) that consists of rapid gyraVons of the body and pelvis, thrusVng and trembling moVons, bending over and generaVng 

harmonic oscillaVons of the gluteus maximus. 

Those involved in the performance and popularizaVon of Timba crabed a culture of 

black, strong, masculine pride, and a narraVve of male hypersexulaity to go with 

Timba's so-called "masculine" sound. In a socialist society where value and idenVty 

center on labor and poliVcal ciVzenship, black males were represenVng themselves 

not as forces of producVon but of pleasure. 

Timba is musically complex, highly danceable, and reflects the problems and 

contradicVons of contemporary Cuban society because it expresses a repeVVve 

beat that relates to the repeVVve day-to-day life the Cubans endured during the 

early 1990s.It is an evoluVon of Salsa incorporaVng dynamic new fusions with Son, 

Mambo, LaVn jazz, and is highly percussive with complex secVons. 

Very lille "tradiTonal” Salsa existed (or exists) in Cuba, the most influenVal foreign ’Salsero' being Venezuelan Oscar D'León, who is one of the 

few Salsa arVsts to have performed in Cuba. Timba musicians thus rightly claim a different musical heritage from Salsa musicians. 

hRps://www.youtube.com/watch?v=CIH7POmgztE 

Bands 

• Los Van Van 

• La Charanga Habanera 

• NG La Banda 

• Paulito FG 

• Manolín "El Médico de la Salsa" 

• Manolito y su Trabuco 

• Bamboleo 

• Bakuleye 


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6/2/16 

Cuban Dance Movements and Symbolisms 

Every movement in Cuban Dancing comes from Afro-Cuban roots. In 1513, the first 

recorded Africans were brought to Cuba as slaves. When they gathered, at Vmes, they could 

not speak each other’s naVve languages. They communicated meaning of their everyday slave 

life through symbolisms within their dance. 

Three Basic Rumba Steps: 

- Alternate right and lep legs, 

- Move right, lep, forward, and backward: 

1. In place Tap, Step, Tap, Step, Tap, Step (Men apply Guaguanco) 

2. Side to side: Out, slide together, Out, slide together , Out, slide together 

3. Step Ball Change, Step Ball Change, Step Ball Change, 

1. Open, 2,3, Cross, 2,3, Open, 2,3, Cross 2,3 

hRps://www.youtube.com/watch?v=1nbmXTjjoDA 

The Collapse (Hit) 

A convulsion forward – some say this movement may have stemmed from slavery beaVngs. 

Shaking it Off 

Moving beyond the pain 

The Hachet 

Cuwng through the forest 

Old Man (Yambu) 

Aches and pains of growing old 

S0rring the Pot 

EaVng, making food 

Vacunao (Vaccina0on) 

Symbolizes, or Sexual PenetraVon 

Spreading the Seed 

Men Only 

Back Hair Comb 

Meaning Unknown 

Recommended Youtube Videos: 

1. Munequitos de Matanzas 

2. Clave Negra 

3. Afrocuba de Matanzas 

4. Alberto Valdez 

5. Fabrizio Micciche 


Page 79 



hRp://www.afrocubaweb.com/history/history.htm 

hRp://en.wikipedia.org/wiki/Cuban_Rumba 



Page 80 




Which Style to Teach? 

● 

What is Classic Beginning Salsa? 

● Puerto Rican Bomba Puertoricana Style 

● http://www.youtube.com/watch?v=T82L31urPac 

● LA Style 

● http://www.youtube.com/watch?v=usLkis1AJoc 

● NY Style 

● http://www.youtube.com/watch?v=CEXQwgZszSg 

● Cumbia Style 

● http://www.youtube.com/watch?v=EHg-YtrOZoY 

● Cali Style 

● http://www.youtube.com/watch?v=uo35NwBIKJI 

● Cuban and Afro-Cuban Style 

● http://www.youtube.com/watch?v=cv0_swCF4zA


Page 81 




How to Convert / Teach 

Different Styles of Salsa 

● 

● 

● 

● 

● 

There is no “right” or “wrong” style of Salsa 

KNOW your material – thoroughly 

Do not put down other dance styles to ANYONE. Especially to students. 

You can’t teach what you don’t know, so… 

Take privates from experts in the following major areas: 

● – On 1 and 2 (heavy emphasis on Musicality) 

● Hybrid LA and NY Style mix with Hip Hop & Pop-Locking, while minimizing steps. 

● Linear - Use Painter’s Tape on floor as a teaching aid 

● Puerto Rican Style – On 1, and 2 

● New York Style – On2 

● LA Style – On 1 

● Linear - Use Tape on floor as a teaching aid 

● Cuban Style – On 1,2, and 3 ...”or whatever beat is available” 

(thank you Divina De Rose from Cuba!)” 

● Casino Style “is” our version of what we call “Salsa partner dancing” in Cuba 

● Cali Style – From Colombia 

● Colombian Style – On 1 

● 

Circular – Girls do more spins. Faster, jumpier type of moves.


Page 82 




"I've learned that students will forget what you said, 

students will forget what you did, 

but students will never forget how you made them feel.” 


”It is the Man’s Responsibility to make the woman FEEL Good. 

It is the Woman’s Responsibility to make the man LOOK Good.” 


"The largest, most successful companies in the world started 

with a small team of OBSESSED visionaries." 


”Surround yourself with Possibility Thinkers, and Watch your 

LIFE BLAST OFF like a Rocket!!!” 


www.SalsaFreak.com 

”Small minds discuss other people. 

Average minds discuss events. 

Great minds discuss ideas ” 

- Eleanor Roosevelt 

"There is nothing more powerful... 

than an idea who's Tme has come." - Victor Hugo


Page 83 

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