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Black Belt Salsa Student Manual

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Welcome To…<br />

BLACK BELT<br />

<strong>Salsa</strong>!<br />

Online <strong>Student</strong> <strong>Manual</strong>!!<br />

Updated 6/2/16<br />

Page 1<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 2<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Online New <strong>Student</strong> Orienta0on Packet<br />

BBS <strong>Student</strong>s:<br />

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

You have access to over 900 online student training videos from White <strong>Belt</strong> through <strong>Student</strong> <strong>Black</strong> <strong>Belt</strong>.<br />

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

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

To Your Success!!<br />

- Edie, The <strong>Salsa</strong> FREAK!!<br />

GM BBD and Denver School Sensei<br />

Bio: hIp://www.<strong>Salsa</strong>Freak.com/bio


Updated 6/2/16<br />

Page 3<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong> <strong>Belt</strong> <strong>Salsa</strong>


Updated 6/2/16<br />

Page 4<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

We create some of the Finest Social Dancers in the World.<br />

How? We train the instructor first.<br />

We uVlize a World Class systemaVc, progressive course syllabus,<br />

and reward both Instructor and <strong>Student</strong> success using MarVal Arts ranking.<br />

Our Belief:<br />

World Class Instructors<br />

create AMAZING students!!<br />

Our retenTon rate is<br />

UNPRECEDENTED.<br />

WE ARE IN Twelve COUNTRIES<br />

Worldwide Usage Stats:<br />

1. United States<br />

2. India<br />

3. Canada<br />

4. Australia<br />

5. AnTgua Barbados<br />

6. Germany<br />

7. Kuwait<br />

8. Dominican Republic<br />

9. Cuba<br />

10. London<br />

11. Italy<br />

12. Afghanistan - The U.S. Military Troops in Afghanistan are now implemenVng<br />

the <strong>Black</strong> <strong>Belt</strong> Dance system to their core wellness programs both abroad,<br />

and stateside.<br />

BBS Usage:<br />

• 28 Dance Genres in development<br />

• 52 CerVfied Instructors, 18 acVve<br />

• 2700+ <strong>Black</strong> <strong>Belt</strong> students worldwide … and expanding every week!<br />

“<strong>Student</strong>s will forget what you did,<br />

<strong>Student</strong>s will forget what you said,<br />

But they will never forget,<br />

how you made them feel.”<br />

- Edie, The <strong>Salsa</strong> FREAK!!


Updated 6/2/16<br />

Page 5<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

What is <strong>Black</strong> <strong>Belt</strong> Dance?<br />

<strong>Black</strong> <strong>Belt</strong> Dance (BBD) has taken various Partner Dances and formed a dynamic structured system<br />

for educaVng teachers and dancers, creaVng some of the finest instructors and social dancers in the<br />

world!<br />

The BBD is a unique system of instrucVng teachers and dancers in a progressive system of<br />

Partner Dancing that transcends former unstructured ways of teaching. Both Instructor and<br />

<strong>Student</strong> development is based upon the MarVal Arts system of progression and awards.<br />

The BBD is a paradigm shib away from the anVquated and less<br />

structured ways that have been taught in the past. You as an instructor<br />

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

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

again. That is the beauty of the system.


Updated 6/2/16<br />

Page 6<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

What is <strong>Black</strong> <strong>Belt</strong> <strong>Salsa</strong>?<br />

<strong>Black</strong> <strong>Belt</strong> <strong>Salsa</strong> (BBS) has taken all of the various styles of <strong>Salsa</strong> and formed a dynamic structured<br />

system for educaVng teachers and dancers, creaVng some of the finest instructors and social dancers<br />

in the world!<br />

The BBS is a unique system of instrucVng teachers and dancers in a progressive system of<br />

<strong>Salsa</strong> that transcends On1, On2, Cuban, Colombian or Mambo styles of <strong>Salsa</strong>. Both Instructor<br />

and <strong>Student</strong> development is based upon the MarVal Arts system of progression and awards.<br />

The BBS is a paradigm shib away from the anVquated and less<br />

structured ways that <strong>Salsa</strong> has been taught in the past. You as an<br />

instructor or student can walk into any BBS school in the U.S. or abroad<br />

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

beginner again. That is the beauty of the system.


Updated 6/2/16<br />

Page 7<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Weekly<br />

Group Classes<br />

World Class Training


Updated 6/2/16<br />

Page 8<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

What to Expect…<br />

<strong>Student</strong>s Need…<br />

• A fun and friendly social atmosphere.<br />

• To feel welcome, relaxed and safe.<br />

• Friends to go to events and parVes with.<br />

• Freedom to be creaVve with I’ve learned<br />

• A place and Vme where I can pracVce what I’ve learned.<br />

• To build upon what I learned the week(s) before<br />

• Weekend Specialty workshops to perfect my crab.<br />

• A monthly graduaVon rewarding my progression.<br />

• To get to dance with the instructor at clubs and in class.<br />

• To create my own style from the moves I am taught.<br />

• To be one of the BEST dancers every where I go.<br />

• To socialize and eat great food aber class!<br />

How Every BBS School Operates…<br />

Number of Degrees are flexible, “more or less”<br />

Artwork by Jacques Ho


Updated 6/2/16<br />

Page 9<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

NOTE:<br />

Number of Degrees per<br />

belt may vary based on<br />

class size, new family<br />

introducVon and/or<br />

group level(s).<br />

Workshops


We play<br />

music a total<br />

of five times<br />

during the 90<br />

minute<br />

teaching<br />

session.<br />

All Circles<br />

follow the<br />

same system<br />

during the<br />

same 90<br />

minutes, but<br />

instruction is<br />

done at<br />

different<br />

levels<br />

All Circles<br />

Mingle<br />

“The Magic 90”<br />

5 Min<br />

Instruction,<br />

5 min Verbal<br />

Recap & Q&A<br />

Repetition<br />

3 min.<br />

Community Dance<br />

15 Min<br />

Instruction<br />

Teach<br />

New<br />

Pattern<br />

Start<br />

5-7 min<br />

Warm-Up<br />

5-7 min<br />

3 min.<br />

DTB of the week Styling<br />

Go to Circles<br />

10 Min<br />

Review<br />

15 Min<br />

Instruction<br />

Teach<br />

New<br />

Pattern<br />

The same EXCITING<br />

Shines routine is done<br />

both before and after the<br />

class – it is never “taught”<br />

<strong>Student</strong>s must simply<br />

pick up and learn the<br />

Shines routine by doing it<br />

over and over again.<br />

Creates an addiction to<br />

come back. You will<br />

learn it during the “Hour<br />

of Power” Practice<br />

session AFTER CLASS<br />

IS OVER. Or you can<br />

get each other’s phone<br />

number and practice offline.<br />

I do,<br />

We Do,<br />

You Do!<br />

Updated 8/15/17<br />

6/2/16<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com www.<strong>Salsa</strong>Freak.com www.DanceFreak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

10


What to Expect…<br />

YOUR Worldwide RecogniTon at www.<strong>Black</strong><strong>Belt</strong>System.com<br />

• Once you take your first BBS class, your name will be officially registered at<br />

White <strong>Belt</strong> on the Worldwide BBS School Roster online.<br />

(click on Menu: Graduates > <strong>Student</strong> Grads).<br />

This way, should you travel and find another BBS school, you do not have to<br />

start over at the beginning again.<br />

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

<strong>Belt</strong> Color may expand or decrease in quanVty, depending on speed of the group.<br />

• Degree expansion is up to each school Sensei.<br />

<strong>Belt</strong> Advancement:<br />

• Progress systemaVcally each month with your fellow classmates.<br />

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

• You may move to any degree (month) within a given <strong>Belt</strong> color.<br />

• Some <strong>Belt</strong>s will take several months to complete.<br />

• Degrees within a single color are independent of each other.<br />

However moving to a new belt color must be done in a subsequent progression,<br />

once all degrees within that belt level are fulfilled.<br />

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

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

The “Magic 90” – 7:30pm Tll 9pm<br />

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

The BBS Warm Up – 7:30pm Tll 7:40pm<br />

• <strong>Student</strong>s do some stretching, and the basics of Merengue, Bachata and <strong>Salsa</strong>, then partner up to pracVce for one minute, then do a quick partner switch to the next person!<br />

Super Fun!<br />

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

<strong>Student</strong>s do some stretching, and the basics of Merengue, Bachata and <strong>Salsa</strong>, then partner up to pracVce for one minute, then do a quick partner switch to the next person!<br />

Super Fun!<br />

Learning and Growing –– 7:40pm Tll 9pm<br />

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

prove how the system applied in real-world situaVons.<br />

The “Fundamental 15” – 9pm Tll 9:15pm<br />

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

experienced Dancers.<br />

• 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<br />

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

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

• 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,<br />

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

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

• BBS Events are now being scheduled all around the world! Start Planning NOW!!<br />

Updated 6/2/16<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 12<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Specifics<br />

You will have many Instructors to help you.<br />

We will place you at the most appropriate <strong>Belt</strong> level when<br />

you arrive your first day of class.<br />

This will involve a small dance, and a few quesVons. Zero<br />

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

where YOU are most comfortable, save the<br />

embarrassment, and will not hold others up in the same<br />

group. Note: Only upper-level cer5fied BBS instructors<br />

are allowed to place students.<br />

What to Wear / Smell NICE…<br />

Comfortable conservaVve clothing, shoes with a slippery<br />

boRom (tennis shoes or sneakers with rubber soles<br />

prohibits spinning). Ask one of your instructors for places<br />

to get pracVce dance shoes. We use<br />

www.DiscountDance.com . Please come showered and<br />

smelling NICE. Bring extra Deodorant and Breath mints.<br />

You will be VERY CLOSE to your partners!!! Please take<br />

FREE Breath mints at the registra5on desk.


Updated 6/2/16<br />

Page 13<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

TesTng to Upper <strong>Belt</strong>s<br />

Like any MarTal Art, to move up one belt color, you must prove you are<br />

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

back.<br />

TesTng will be done when YOU feel YOU are ready. No pressure. You<br />

may test upward at any Vme during the month to any belt color by<br />

scheduling a test during the “Hour of Power” with any upper-level<br />

cerVfied BBS instructor.<br />

You will be asked to demonstrate what you’ve learned, based on what is<br />

listed in the Captain Kirk course summary overview pages located in this<br />

document, to advance the next upper-level belt.<br />

Watch this MoVvaVonal video:<br />

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


Updated 6/2/16<br />

Page 14<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Total<br />

ApprenTceship<br />

Training


Edie, The <strong>Salsa</strong> FREAK!! Personal Website<br />

Cool <strong>Salsa</strong> Info!!<br />

www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong> <strong>Belt</strong> <strong>Salsa</strong><br />

Edie’s “<strong>Student</strong> Night” at the Turnverine! - Every 3 rd Wednesday of the month!<br />

She will also DJ that same night – give her your song requests!!!<br />

Edie’s Story… How She Discovered <strong>Salsa</strong> !!<br />

All Dances in Development within the <strong>Black</strong> <strong>Belt</strong> System<br />

Edie’s Personal BBS Cloud Site<br />

Do you have trouble finding the beat?<br />

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

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

The BBS Cloud Instructor websites have the tools to help them make<br />

YOU be the BEST dancers in the region!!<br />

Edie’s Sunday “Specialty” Workshops<br />

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

Colorado <strong>Salsa</strong> Clubs and Socials!!<br />

Find a continuously updated list here<br />

The <strong>Black</strong> <strong>Belt</strong> System is engineered using “Fractal Theory“<br />

Access to the “Complete” BBS Online Course Syllabus<br />

Videos!<br />

Dance Business Management (DBM) Online Course<br />

http://www.salsafreak.com/dj.php<br />

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

Story-How-She-Discovered-<strong>Salsa</strong><br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

www.<strong>Black</strong><strong>Belt</strong>Dance.com<br />

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

www.<strong>Salsa</strong>Freak.com/workshops<br />

www.<strong>Salsa</strong>CentralDenver.com<br />

http://www.blackbeltsystem.com/bbs_mandlebrot.php<br />

http://student.blackbeltsystem.com<br />

www.DanceBusinessManagement.com<br />

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

The BBS TM system is a combination of …<br />

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

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

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

Class look and feel. It is simple, direct and non-classical.<br />

Dance Articles at “Dancer Hangout” online!!<br />

• Beginner’s Corner<br />

• “Dear Edie…” Advice column<br />

• Off-Beat Support Group<br />

• Relationships in the Dance Scene<br />

• To Be “The Best…” - what it takes.<br />

• Religion & Dance controversy<br />

• Styling & Spins articles<br />

• Partner Search<br />

Great Music Stations to practice to on Pandora:<br />

www.Pandora.com<br />

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

Updated 6/2/16 Page 15<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

http://www.dancerhangout.com/content.php?r=567-<strong>Salsa</strong>-<br />

Dance-Styles<br />

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

Click www.DancerHangout.com, look in left column<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Four Ways of Learning the BBS<br />

Our teaching tools are designed for how your learn!!<br />

The Four Personality Types ...<br />

Scoly, from the<br />

Movie, “Star Trek”<br />

Capt. Kirk, from the<br />

Movie, “Star Trek”<br />

Dr. McCoy, from the<br />

Movie, “Star Trek”<br />

Mr. Spock, from the<br />

Movie, “Star Trek”<br />

Updated 6/2/16<br />

The Socializer<br />

Pocket Syllabus<br />

Page 16<br />

The Director<br />

Course Overview<br />

The Relator<br />

Online Videos<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

The Analy0cal<br />

Step-by-step Detail<br />

Class Notes<br />

(instructor access only)<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 17<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Scoly<br />

By DTB Family<br />

Scoly, from the<br />

Movie, “Star Trek”


Updated 6/2/16<br />

Page 18<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Fold Here<br />

Fold Here<br />

Fold Here


Fold Here<br />

Fold Here<br />

Fold Here<br />

Updated 6/2/16<br />

Page 19<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 20<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

How to Run Out of Song<br />

Puong it all Together<br />

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

below, that she wears to teach her Pla0num <strong>Black</strong> <strong>Belt</strong> <strong>Salsa</strong> private lesson students.<br />

The BBS<br />

Holy Grail<br />

“A Picture Worth a<br />

Thousand Moves!!!”<br />

- Josh Hernandez, KC, USA


Updated 6/2/16<br />

Page 21<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

ROSS<br />

How to Run Out of Song Shirt<br />

First, do the Blade<br />

Second, do the BBS Basic<br />

• CBL, then Right-Break Turn<br />

• CBL, then Leb-Break Turn<br />

Right-Break Turn<br />

• She turns Right on 5<br />

Lep Break Turn<br />

• She turns Leb on 6<br />

• Includes a Leb-Break Stop<br />

Orange: Progressive Leps<br />

• She turns leb on 6<br />

• Eye Drop (High Hand)<br />

• Belly Drop (Low Hand)<br />

Includes a CBL Stop<br />

Slants<br />

Bridge Walk-Thru’s<br />

• She turns ½ right on 7<br />

Yellow: Open Break Moves<br />

Baskets<br />

Open Break with a hook<br />

Cumbia & Walk-Thrus<br />

Copa<br />

Green <strong>Belt</strong> Tornados: Spins<br />

Prepping & ExecuVon<br />

Orange: Progressive Rights<br />

• Goatee on 3<br />

• She turns right on 5<br />

Slants<br />

CBL<br />

• She turns ½ leb on six<br />

Shadow – He spins her<br />

same direcVon quickly<br />

aber she spins<br />

Camo-<strong>Belt</strong> Moves<br />

• RotaVng CBL<br />

• Reverse Side CBL<br />

• S-Turns<br />

• Whips


Updated 6/2/16<br />

Page 22<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

DTB<br />

Down The Body<br />

... from one direcVon<br />

... then add the other direcVon<br />

... then add Closed Posi0on<br />

Now your dance<br />

combinaVons and<br />

amalgamaVon<br />

possibiliVes are<br />

literally...<br />

ENDLESS!!!


Updated 6/2/16<br />

Page 23<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Captain Kirk<br />

Curriculum by Degree<br />

Capt. Kirk, from the<br />

Movie, “Star Trek”


Capt. Kirk – BBS TM Pocket Syllabus by <strong>Belt</strong><br />

Updated 6/2/16<br />

Page 24<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

The following pages have ensured every student has had a thorough<br />

understanding of their expectaVons prior to advancing to the next belt color.<br />

These pages cover the BBS standards that must be met for mastery of each<br />

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

there.<br />

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

<strong>Student</strong>s may re-take the degrees within that belt color as many Vmes as they<br />

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


Capt. Kirk – BBS TM White <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 25<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Core Fundamentals<br />

Lead<br />

Egg (Dance Frame)<br />

Toes forward<br />

Pyramids<br />

Tangerines<br />

Elbows in front of chest<br />

Pistol Grip w/ No thumbs<br />

Split Leads<br />

Footwork:<br />

- Right and Leb Break Turns<br />

- CBL<br />

- Progressive Leb<br />

- (same footwork as CBL)<br />

- Regular Basic<br />

- Open Break Basic<br />

DTB – See DTB Page<br />

Core Fundamentals<br />

Follow<br />

Egg (Dance Frame)<br />

Toes Pointed Outward<br />

Elbows in front of chest<br />

Limes<br />

Man Cave w/ No thumbs<br />

Footwork:<br />

- Right Break Turn<br />

- Leb Break Turns<br />

(apply Pivot technique at the end)<br />

- CBL<br />

- Progressive Leb –<br />

(apply Pivot technique throughout)<br />

Styling:<br />

Toes Out<br />

Posture, Chin Up, shoulder rolls, Hair Combs, Mermaid,<br />

PreRy Fingers, Broken Wrist - Finger-Egg<br />

"Vavoom" Technique<br />

Drag your Feet for balance and control<br />

Rande, and Reverse Rande<br />

During any dip or pose, ladies must have either one or<br />

the other leg straight and toes pointed.<br />

No air / gaps between legs.<br />

Core Fundamentals<br />

Partnerwork<br />

Eye Contact<br />

#5 ConnecVon<br />

Frame (egg)<br />

Spowng<br />

BBS Basic:<br />

- Leb Break turn<br />

- CBL<br />

- Right break turn<br />

- Repeat the above<br />

Timing:<br />

- Where is the 1 st beat?<br />

- Staying on beat for 30<br />

seconds or more.


Scoly – BBS TM Fundamentals Day #1 (Fun Day 1!)<br />

Updated 6/2/16<br />

Page 26<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM Fundamentals Day #2 (Fun Day 2!)<br />

Updated 6/2/16<br />

Page 27<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM White <strong>Belt</strong> 1 st Degree<br />

Updated 6/2/16<br />

Page 28<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

CBL – “Chase Him”<br />

How to Ask...


Scoly – BBS TM White <strong>Belt</strong> 2nd Degree<br />

Updated 6/2/16<br />

Page 29<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


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

Updated 6/2/16<br />

Page 30<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


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

Updated 6/2/16<br />

Page 31<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 32<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Capt. Kirk – BBS TM Orange <strong>Belt</strong> Rubric Test Preview<br />

Core Fundamentals<br />

Core Fundamentals<br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Core Fundamentals<br />

Lead<br />

Egg (Dance Frame)<br />

Toes forward<br />

Pyramids<br />

Tangerines<br />

Elbows in front of chest<br />

Pistol Grip w/ No thumbs<br />

Mavericks: “Shadow” Technique<br />

Footwork:<br />

- Right Break<br />

- CBL<br />

- Progressive Leb<br />

- (same footwork as CBL)<br />

- Progressive Right<br />

- Bridge Walk-Thru<br />

(right leg in front)<br />

- CBL Stop<br />

DTB – See DTB Page<br />

Follow<br />

Egg (Dance Frame)<br />

Toes Pointed Outward<br />

Elbows in front of chest<br />

Limes<br />

Man Cave w/ No thumbs<br />

Footwork:<br />

- Right Break<br />

- CBL<br />

- Progressive Leb<br />

- (same footwork as CBL)<br />

- Progressive Right<br />

- Bridge Walk-Thru<br />

(right leg in front)<br />

- CBL Stop<br />

STYLING<br />

Toes Out<br />

Posture, Chin Up, shoulder rolls, Mermaid, PreRy<br />

Fingers, Broken Wrist - Finger-Egg<br />

"Display" on count five (count 2 if On-2), all three<br />

direcVons. Cup Dump Smear (aka, "Mascara<br />

Smear" arm styling)<br />

HUGE Tissue pull, Display on count five (2 if on-2)<br />

T-Stance Moves: See Edie's Ladies Styling Volume<br />

2 DVD for details.<br />

Covered extensively in "Red <strong>Belt</strong>" Training.<br />

"Rande" Leg Techniques off of<br />

Prog Right and Prog Lebs.<br />

Partnerwork<br />

Eye Contact<br />

#5 ConnecVon<br />

Frame (egg)<br />

Spowng<br />

BBS Basic:<br />

- Leb Break turn<br />

- CBL<br />

- Right break turn<br />

- Repeat the above<br />

Timing:<br />

- Where is the 1 st beat?<br />

- Staying on beat for 30<br />

seconds or more.


Scoly – BBS TM Orange <strong>Belt</strong> 1 st Degree<br />

Updated 6/2/16<br />

Page 33<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM Orange <strong>Belt</strong> 2 nd , 3 rd , and 4th Degree<br />

Updated 6/2/16<br />

Page 34<br />

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www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


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

Updated 6/2/16<br />

Page 35<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


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

Updated 6/2/16<br />

Page 36<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Yellow <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 37<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Lead<br />

Core Fundamentals<br />

BOCC Footwork and Lead<br />

- Basket<br />

- Open Break with Hook<br />

- Cumba<br />

- Copa<br />

Various DTB techniques for the<br />

above.<br />

Various DTB High / Low Hand /<br />

Tailbone “Exits”<br />

Core Fundamentals<br />

Follow<br />

Styling<br />

BASKET STYLING:<br />

Gather the flowers, Open the Curtains, Smell the fresh<br />

air, bring it in (fluRer hands) Flamenco placemet (Lowhand<br />

Mascara Smear)<br />

OPEN BREAK STYLING:<br />

“Poke your Eye Out”, dress technique<br />

Mascara Smear, Dracula, Empress<br />

Hammerlock, arm up and hair comb technique<br />

Shoulder Rolls<br />

Head Roll Endings<br />

COPA STYLING:<br />

4-Cross, Low Mascara Smear, Goncho, Rande, Body<br />

Wave, Head Roll Endings<br />

CUMBIA STYLING:<br />

Unveil and "Vanity" techniques<br />

Ref: Edie's Ladies Styling Volume One DVD.<br />

Hip Hits<br />

The following DVD Series also demonstrates<br />

excellent Ladies Arms Styling:<br />

hRp://www.dancefreak.com/categorylinks.php#ladies_specialty_bundle<br />

Core Fundamentals<br />

Partnerwork<br />

Eye Contact<br />

#5 ConnecVon<br />

Frame (egg)<br />

Spowng<br />

BBS Basic:<br />

- Leb Break turn<br />

- CBL<br />

- Right break turn<br />

- Repeat the above<br />

Timing:<br />

- Dancing On-1<br />

- Dancing On-2


Scoly – BBS TM Yellow <strong>Belt</strong> 1 st, 2nd, 3 rd , and 4 th Degree<br />

Updated 6/2/16<br />

Page 38<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


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

Updated 6/2/16<br />

Page 39<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Yellow <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 40<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM Yellow <strong>Belt</strong> 1 st, 2nd, and 3 rd Degree<br />

Updated 6/2/16<br />

Page 41<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 42<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Capt. Kirk – BBS TM Camo <strong>Belt</strong> Rubric Test Preview<br />

Core Fundamentals<br />

Core Fundamentals<br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Core Fundamentals<br />

Lead<br />

Opposite Side CBL Lead<br />

CBL Stop into a Leb Turn<br />

RotaVng CBL (RCBL) Lead<br />

Footwork:<br />

Opposite Side CBL<br />

CBL Stop into a Leb Turn<br />

RotaVng CBL (RCBL)<br />

DTB – See DTB Page<br />

Follow<br />

Mascara Smear (or cup/dump/<br />

smear)<br />

Karate - Head Roll Ending<br />

Headache through a Bridge / Walk<br />

Thru<br />

Shoulder Rolls<br />

"Vavoom" prior to back rock step<br />

Same CBL and Progressive Styling<br />

as Orange<br />

Toe Taps on Contra-Beat,<br />

"Collapse" on Contra-Beat<br />

(normally counts #2, and #6,<br />

whether dancing On1 or On2)<br />

Circle move: Pivots are a MUST!!<br />

- She “places book on shelf”<br />

Partnerwork<br />

Eye Contact<br />

#5 ConnecVon<br />

Frame (egg)<br />

Spowng<br />

BBS Basic:<br />

- Leb Break turn<br />

- CBL<br />

- Right break turn<br />

- Repeat the above<br />

Timing:<br />

- Dancing On-1<br />

- Dancing On-2


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

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Updated 6/2/16<br />

Page 43<br />

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www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com <strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Camo <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 44<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM Green <strong>Belt</strong> 1 st, and 2 nd Degree<br />

Updated 6/2/16<br />

Page 45<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 46<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Capt. Kirk – BBS TM Green <strong>Belt</strong> Rubric Test Preview<br />

Core Fundamentals<br />

Core Fundamentals<br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Core Fundamentals<br />

Lead<br />

Lead a high-speed mulVple spin leb<br />

or right:<br />

1. In-place<br />

2. In a progression<br />

3. How to STOP the above spins.<br />

Execute a Touch-n-Go.<br />

MulVple Leb in-place and<br />

progressive Spins into a RotaVng<br />

CBL.<br />

MulVple Leb in-place and<br />

progressive Spins into an Aqua Dip<br />

SPOTTING<br />

Footwork:<br />

Make sure to step on EVERY BEAT<br />

of the music DURING her spin(s).<br />

Follow<br />

Footwork:<br />

In-Place High Speed Prep,<br />

- both Leb and Right direcVons.<br />

Progressive High Speed Prep,<br />

- both Leb and Right direcVons.<br />

SPOTTING<br />

Styling:<br />

Minimal steps, drag the feet, and punch<br />

Finger Egg, shoulder rolls, head whip at the<br />

end of the last spin, back and side head Vlts.<br />

Spowng!!<br />

Body Wave Ending aber high-speed mulVple<br />

spins<br />

Pivot Endings aber high-speed mulVple spins<br />

Knee up with pointed toe during high-speed<br />

mulVple spins<br />

Head Back and face up with an ending Vlt<br />

toward ceiling during high-speed mulVple<br />

spins<br />

Partnerwork<br />

Eye Contact<br />

#5 ConnecVon<br />

Frame (egg)<br />

Spowng<br />

BBS Basic:<br />

- Leb Break turn<br />

- CBL<br />

- Right break turn<br />

- Repeat the above<br />

Timing:<br />

- Dancing On-1<br />

- Dancing On-2


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

Updated 6/2/16<br />

Page 47<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Green <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 48<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM Purple <strong>Belt</strong> 1 st, 2nd, 3 rd , 4 th, and 5 th Degree<br />

Updated 6/2/16<br />

Page 49<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

Page 50<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Capt. Kirk – BBS TM Purple <strong>Belt</strong> Rubric Test Preview<br />

Core Fundamentals<br />

Core Fundamentals<br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Core Fundamentals<br />

Lead<br />

Right Turns on 1, 3, and 6 (On1)<br />

Right Turns on 6, 1, and 3 (On2)<br />

Leb Turns on 2, 5, and 7 (On1)<br />

Leb Turns on 7, 1, and 2 (On2)<br />

Footwork:<br />

Review of Foot placement, making<br />

sure to step on EVERY BEAT of the<br />

music.<br />

Follow<br />

A true challenge to the follower.<br />

She will be turning on counts never<br />

before encountered.<br />

This is where her true “TEST” of<br />

following comes in.<br />

At Purple <strong>Belt</strong>, the Follower is not<br />

allowed to “assume” nor predict<br />

what the leader will do.<br />

Partnerwork<br />

Eye Contact<br />

#5 ConnecVon<br />

Frame (egg)<br />

Spowng<br />

BBS Basic:<br />

- Leb Break turn<br />

- CBL<br />

- Right break turn<br />

- Repeat the above<br />

DTB – See DTB Page<br />

STYLING<br />

- Apply ALL Styling from above<br />

<strong>Belt</strong>s<br />

Timing:<br />

- Dancing On-1<br />

- Dancing On-2


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

Updated 6/2/16<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Purple <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 52<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Scoly – BBS TM Blue <strong>Belt</strong> 1 st, 2 nd and 3 rd Degree<br />

Updated 6/2/16<br />

Page 53<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Coming Soon... !!<br />

J


Updated 6/2/16<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Capt. Kirk – BBS TM Blue <strong>Belt</strong> Rubric Test Preview<br />

Core Fundamentals<br />

Core Fundamentals<br />

www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Core Fundamentals<br />

Lead<br />

Hand Toss and Drop-Hand Catch<br />

Fundamentals<br />

Follow<br />

Hand Toss and Drop-Hand Catch<br />

Fundamentals<br />

Arm, Hand and Finger Styling<br />

Partnerwork<br />

Hand Toss and Drop-Hand Catch<br />

Fundamentals


Capt. Kirk – BBS TM Blue <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Blue <strong>Belt</strong> Rubric Test Preview<br />

Updated 6/2/16<br />

Page 56<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Capt. Kirk – BBS TM Course Overview by <strong>Belt</strong><br />

Updated 6/2/16<br />

Page 57<br />

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www.<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Weekend Workshop<br />

<strong>Belt</strong>s<br />

Brown <strong>Student</strong> <strong>Belt</strong>:<br />

• “Spins” Male / Female<br />

Red <strong>Student</strong> <strong>Belt</strong>:<br />

• “Styling”<br />

<strong>Black</strong> / Red <strong>Student</strong> <strong>Belt</strong>:<br />

• “Musicality”<br />

<strong>Black</strong> <strong>Belt</strong><br />

• Libs, Tricks, Choreography<br />

and Performing


Updated 6/2/16 Page 58<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

ApprenTce Board<br />

Curriculum Summary through Blue <strong>Belt</strong>


Updated 6/2/16<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Dr. McCoy<br />

Online <strong>Student</strong> Curriculum Videos<br />

Dr. McCoy, from the<br />

Movie, “Star Trek”


Updated 6/2/16<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

BBS<br />

Course Videos<br />

BBS <strong>Student</strong>s may now access<br />

the ENTIRE Course Curriculum<br />

ONLINE!<br />

Watch the moves you are taught in<br />

class and PRACTICE all week!<br />

Access:<br />

hRp://student.blackbeltsalsa.com


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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Worldwide Instructors Team<br />

Tools and Support<br />

Dance Business Management<br />

Direct Path to Teaching<br />

… FASTER and SMARTER<br />

Mr. Spock, from the<br />

Movie, “Star Trek”


Updated 6/2/16<br />

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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

BBS History<br />

<strong>Black</strong> <strong>Belt</strong> Dance was created by Edie Williams, also known as<br />

“Edie, The <strong>Salsa</strong> FREAK!!” Read her personal story of how Edie discovered <strong>Salsa</strong> here…<br />

Over a period of twenty years teaching in hundreds of ciVes throughout 64 countries<br />

throughout the world, Edie revealed a “system” of conducVng classes and systemaTzing<br />

dance moves (not just <strong>Salsa</strong>) that magically created some of the best social dancers where<br />

ever she traveled.<br />

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

she decided to help her fellow (broke) colleagues by creaVng the Dance Business<br />

Management (DBM) online course in 2000.<br />

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

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

how to use the latest in online cloud technology to develop an online Cloud database and<br />

worldwide teaching support mechanism called the “<strong>Black</strong> <strong>Belt</strong> System Cloud” so that<br />

teachers in every naVon could more effecVvely develop themselves individually as World<br />

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

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

advisors, the <strong>Black</strong> <strong>Belt</strong> Dance Online System was born. Now students from every corner of<br />

the globe can share the in joy of learning from some of the best instructors the world has<br />

ever known… the <strong>Black</strong> <strong>Belt</strong> Instructor team.


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What is <strong>Salsa</strong>?<br />

SALSA ORIGINS<br />

by Max Salazar<br />

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

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

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

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

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

Cuban spices. It was a protest against tasteless food.<br />

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

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

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

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

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

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

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

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

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

the food.”


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What is <strong>Salsa</strong>? (Continued…)<br />

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

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

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

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

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

album offering is Vtled <strong>Salsa</strong> Na Ma.<br />

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

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

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

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

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

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

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

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

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

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

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

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

been aired over staVons with different music formats.


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What is <strong>Salsa</strong>? (Continued…)<br />

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

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

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

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

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

conga drums were sold like never before across the United States.<br />

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

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

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

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

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

<strong>Salsa</strong>.<br />

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

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

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

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

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

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

Cas5gador is the New <strong>Salsa</strong> Sensa5on Roberto Torres.


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What is <strong>Salsa</strong>? (Continued…)<br />

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

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

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

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

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

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

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

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

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

the anglo market which had abandoned the music went the cha cha cha followed the mambo popularity in 1956,<br />

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

supplement magazine called “<strong>Salsa</strong> Explosion.”…<br />

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

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

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

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

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

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

explosion detonate.<br />

The mushroom cloud fallout has been felt around the world.


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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Where do Latin Rhythms<br />

Come From?<br />

IntroducTon<br />

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

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

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

Cuba<br />

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

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

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

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

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

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

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

orichas (deiVes believed to represent and control the forces of nature.<br />

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

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

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

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

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

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

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

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

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

the dance we know as the mambo.<br />

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

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

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

bands we sVll hear today.<br />

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


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Mambo<br />

THE MUSIC<br />

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

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

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

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

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

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

popularity in Mexico and the US) and spiked his mambo with lush jazzy arrangements,<br />

infused with throbbing congas and high-octane brass voicings.<br />

Mambo also means a repeaVng instrumental phrase played in unison by the rhythm secVon<br />

(piano, bass and percussion) which bridges different secVons of a composiVon.<br />

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

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

hRp://www.salsaroots.org


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<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

Son<br />

THE MUSIC<br />

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

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

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

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

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

the region aber their emancipaVon following the HaiVan War for Independence.<br />

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

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

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

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

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

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

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

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

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

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

son, son montuno, son-guajira<br />

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

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

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

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

hRp://www.salsaroots.org


Updated 6/2/16<br />

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Danzon<br />

THE MUSIC<br />

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

contradanza and danza were brought to Cuba by the HaiVan and French colonists who flooded Cuba aber the HaiVan<br />

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

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

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

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

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

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

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

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

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

structure.” (Rodriguez 1998)<br />

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

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

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

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

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

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

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

hRp://www.salsaroots.org


Updated 6/2/16<br />

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Bomba<br />

THE MUSIC<br />

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

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

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

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

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

English influences into their music and dances.<br />

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

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

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

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

lead singers mprovises in response to the drumming.<br />

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

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

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

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

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

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

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

hRp://www.salsaroots.org


Updated 6/2/16<br />

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Bomba<br />

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

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

perona seeds inside the maraca produce the disVncVve, sound.<br />

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

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

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

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

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

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

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

preserving the tradiVons of Bomba.<br />

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

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

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

syncopated rhythm.<br />

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

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

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

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

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

hRp://www.salsaroots.org


Updated 6/2/16<br />

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Cha Cha Cha<br />

THE MUSIC<br />

In 1951, Cuban composer and violinist Enrique Jorrín Enrique Jorrín introduced the first<br />

cha-cha-chás, La Engañadora and Silver Star delighVng dancers at Silver Star society, a<br />

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

was playing with the charanaga group Orquesta America of Ninon Mondejar.<br />

Jorrin said that the shuffling sound of the dancers’ footwork during the montuno 1secVon<br />

of the danzon inspired him to create the rhythm.<br />

Cha Cha Cha, closely linked to mambo, was originally called "mambo-rumba" and later<br />

"triple mambo" or "mambo with guiro rhythm".<br />

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

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

hRp://www.salsaroots.org


Updated 6/2/16<br />

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Rumba<br />

THE MUSIC<br />

Dr. Olavo Alen Rodriguez writes,<br />

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

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

spaces called solares produced rumba. The explosive energeVc drumming and sensual body movements of rumba<br />

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

and Columbia.<br />

According to Dr. Olavo Alen Rodriguez,<br />

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

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

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

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

nature of the general beat.<br />

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

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

• Rumba Yambú (which is slower than the Columbia):<br />

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

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

hRp://www.salsaroots.org


Guanguanco<br />

THE MUSIC<br />

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

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

solo drum). These parts may also be played on calones, wooden boxes.<br />

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

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

(kind of woodblock).<br />

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

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<br />

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

dances from LaVn America).<br />

During a number, dancers, lead vocal and quinto interact in a complex manner:<br />

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

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

enVce the male while skillfully avoiding being touched by his vacunao."<br />

References<br />

• Orovio, Helio 2004. Cuban music from A to Z. p191<br />

- Boggs, Vernon 1992. Salsiology.<br />

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

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

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

Updated 6/2/16<br />

Page 75<br />

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

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Updated 6/2/16<br />

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Cuban Dancing is very Different than Western influenced <strong>Salsa</strong> Dance Styles. New York Style<br />

<strong>Salsa</strong> was largely influenced by the Hustle. LA Style <strong>Salsa</strong> was influenced by West Coast Swing.<br />

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

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

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

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

partners.<br />

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

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

Matancera, never again performed in Cuba aber Fidel Castro assumed control in 1959.<br />

RUMBA<br />

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

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

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

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<br />

Jazz and Hip Hop.<br />

The three basic types of Rumba include:<br />

1. Guaguancó<br />

2. Columbia<br />

3. Yambú<br />

Cuban MoTon<br />

AuthenVc Cuban Technique differs from<br />

Classic Ballroom Technique<br />

1. Upper (not lower) Body Movement –<br />

2. Rib Cage Movement, back and forth<br />

3. Elbows pulling each rib, back and forth<br />

4. Chair exercise<br />

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


Rumba Yambú<br />

Rumba Guaguancó<br />

The term Guaguancó originally referred to a narraVve song style (coros<br />

de guaguancó) which emerged from the coros de claves of the late<br />

nineteenth and early twenVeth centuries. Rogelio Mar‰nez Furé states:<br />

“The old folks contend that strictly speaking, the Guaguancó is the<br />

narraVve.”<br />

The dance is performed with good-natured humor.<br />

Guaguancó is a couple dance of sexual compeVVon between the male and female.<br />

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

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

symbolizing sexual penetraVon.<br />

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

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

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

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

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

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

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

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<br />

Munequitos De Matanzas. Arcata Theatre, Arcata, CA 21 July 1992.<br />

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

Rumba Columbia<br />

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

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

plantaVons, and docks where men of African descent worked together.<br />

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

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

the drum paRerns and chants of religious Cuban Abakuá tradiVons. The drum paRerns of the lowest conga drum is<br />

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

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

by the quinto in rumba.<br />

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

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

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

of the three rumba styles and incorporates movements feigning frailty.<br />

Yambú can be danced alone (especially by women) or by men and women together.<br />

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

Guaguancó.<br />

Updated 6/2/16<br />

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Timba<br />

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

<strong>Salsa</strong>, 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<br />

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

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

harmonic oscillaVons of the gluteus maximus.<br />

Those involved in the performance and popularizaVon of Timba crabed a culture of<br />

black, strong, masculine pride, and a narraVve of male hypersexulaity to go with<br />

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

center on labor and poliVcal ciVzenship, black males were represenVng themselves<br />

not as forces of producVon but of pleasure.<br />

Timba is musically complex, highly danceable, and reflects the problems and<br />

contradicVons of contemporary Cuban society because it expresses a repeVVve<br />

beat that relates to the repeVVve day-to-day life the Cubans endured during the<br />

early 1990s.It is an evoluVon of <strong>Salsa</strong> incorporaVng dynamic new fusions with Son,<br />

Mambo, LaVn jazz, and is highly percussive with complex secVons.<br />

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

few <strong>Salsa</strong> arVsts to have performed in Cuba. Timba musicians thus rightly claim a different musical heritage from <strong>Salsa</strong> musicians.<br />

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

Bands<br />

• Los Van Van<br />

• La Charanga Habanera<br />

• NG La Banda<br />

• Paulito FG<br />

• Manolín "El Médico de la <strong>Salsa</strong>"<br />

• Manolito y su Trabuco<br />

• Bamboleo<br />

• Bakuleye<br />

Updated 6/2/16<br />

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6/2/16<br />

Cuban Dance Movements and Symbolisms<br />

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

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

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

life through symbolisms within their dance.<br />

Three Basic Rumba Steps:<br />

- Alternate right and lep legs,<br />

- Move right, lep, forward, and backward:<br />

1. In place Tap, Step, Tap, Step, Tap, Step (Men apply Guaguanco)<br />

2. Side to side: Out, slide together, Out, slide together , Out, slide together<br />

3. Step Ball Change, Step Ball Change, Step Ball Change,<br />

1. Open, 2,3, Cross, 2,3, Open, 2,3, Cross 2,3<br />

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

The Collapse (Hit)<br />

A convulsion forward – some say this movement may have stemmed from slavery beaVngs.<br />

Shaking it Off<br />

Moving beyond the pain<br />

The Hachet<br />

Cuwng through the forest<br />

Old Man (Yambu)<br />

Aches and pains of growing old<br />

S0rring the Pot<br />

EaVng, making food<br />

Vacunao (Vaccina0on)<br />

Symbolizes, or Sexual PenetraVon<br />

Spreading the Seed<br />

Men Only<br />

Back Hair Comb<br />

Meaning Unknown<br />

Recommended Youtube Videos:<br />

1. Munequitos de Matanzas<br />

2. Clave Negra<br />

3. Afrocuba de Matanzas<br />

4. Alberto Valdez<br />

5. Fabrizio Micciche<br />

Updated 6/2/16<br />

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hRp://www.afrocubaweb.com/history/history.htm<br />

hRp://en.wikipedia.org/wiki/Cuban_Rumba<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com


Updated 6/2/16<br />

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Which Style to Teach?<br />

●<br />

What is Classic Beginning <strong>Salsa</strong>?<br />

● Puerto Rican Bomba Puertoricana Style<br />

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

● LA Style<br />

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

● NY Style<br />

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

● Cumbia Style<br />

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

● Cali Style<br />

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

● Cuban and Afro-Cuban Style<br />

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


Updated 6/2/16<br />

Page 81<br />

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How to Convert / Teach<br />

Different Styles of <strong>Salsa</strong><br />

●<br />

●<br />

●<br />

●<br />

●<br />

There is no “right” or “wrong” style of <strong>Salsa</strong><br />

KNOW your material – thoroughly<br />

Do not put down other dance styles to ANYONE. Especially to students.<br />

You can’t teach what you don’t know, so…<br />

Take privates from experts in the following major areas:<br />

● – On 1 and 2 (heavy emphasis on Musicality)<br />

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

● Linear - Use Painter’s Tape on floor as a teaching aid<br />

● Puerto Rican Style – On 1, and 2<br />

● New York Style – On2<br />

● LA Style – On 1<br />

● Linear - Use Tape on floor as a teaching aid<br />

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

(thank you Divina De Rose from Cuba!)”<br />

● Casino Style “is” our version of what we call “<strong>Salsa</strong> partner dancing” in Cuba<br />

● Cali Style – From Colombia<br />

● Colombian Style – On 1<br />

●<br />

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


Updated 6/2/16<br />

Page 82<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com<br />

"I've learned that students will forget what you said,<br />

students will forget what you did,<br />

but students will never forget how you made them feel.”<br />

- Edie, The <strong>Salsa</strong> FREAK!!<br />

”It is the Man’s Responsibility to make the woman FEEL Good.<br />

It is the Woman’s Responsibility to make the man LOOK Good.”<br />

- Edie, The <strong>Salsa</strong> FREAK!!<br />

"The largest, most successful companies in the world started<br />

with a small team of OBSESSED visionaries."<br />

- Edie, The <strong>Salsa</strong> FREAK!!<br />

”Surround yourself with Possibility Thinkers, and Watch your<br />

LIFE BLAST OFF like a Rocket!!!”<br />

- Edie, The <strong>Salsa</strong> FREAK!!<br />

www.<strong>Salsa</strong>Freak.com<br />

”Small minds discuss other people.<br />

Average minds discuss events.<br />

Great minds discuss ideas ”<br />

- Eleanor Roosevelt<br />

"There is nothing more powerful...<br />

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


Updated 6/2/16<br />

Page 83<br />

Print on sVcky-back Paper for SVckers!<br />

Copyright 2001 to Present, By Edie, The <strong>Salsa</strong> FREAK All Rights Reserved<br />

www.DanceBusinessManagement.com www.<strong>Black</strong><strong>Belt</strong>System.com www.<strong>Salsa</strong>Freak.com<br />

<strong>Black</strong><strong>Belt</strong><strong>Salsa</strong>.com

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