Simply put I'm a dancer. Been one since I was a teen. Now I'm a teacher/performer/DJ/Photographer and all around obsessive when it comes to latin dance. I know I notice certain things during a dance that most dont. So this is a way for me to point out the things I see on the dance floor. Hopefully you will get something out of them. Anything else is just random stuff having to do with my life as a dancer. Hope you enjoy.
I really love your content. I'm happy you're starting to upload again. Might be visiting Orlando for the Orlando Salsa Congress in July. Might visit this studio. I'm from NY and I remember Santo Rico use to be up here.
In our neck of the woods we call it a Pepsi Cola lol. I love this move. I perform a Cuban son/casino structured version ending with sacala (basically a 3 o clock turn) instead of catwalk. But I don't look as smooth as you.
WOW, probably one of the cleanest, concise, and detailed reviews of a social I've come across. What do you think about having 3 lessons concurrently in the same room though? Seems messy. Is it a way maximize student count, or something else? I'm used to back-to-back classes where one is beginner and another is intermediate, or one is salsa the other is bachata. My concern as a student would be losing out on the level-appropriate shines drill for the first 10-15 mins of class.
@@JoeFigueroaLIRDANCEAwesome:) These two are among my all time favorites ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-I2lY8elOaaY.htmlsi=fCQMEQiebNF-sQhh ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9h5t3_jhfno.htmlsi=153rBwLfe9-7TABu
@@JoeFigueroaLIRDANCEAwesome man:) Yeah these two are among my all time favorites: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-I2lY8elOaaY.htmlsi=fCQMEQiebNF-sQhh ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9h5t3_jhfno.htmlsi=153rBwLfe9-7TABu
@ 2:55: Yeah...supporting your wife and kids with disruptive, anti-social behavior in public and on an airplane. Let us know how that worked out for you.
Bro Terry has 14 yeas of background in Tae Kwon Do. Do you have any idea what level of preparation this is? I know, as the Tae Kwon Do fighter was the only one to ever know me out :) Damn it was quick. Remember collapsing like a cooked spaghetti noodle.
It's easy to look good when it's choreographed or you havedanced many times with the same person, at a dance when you dance with a total stranger it's not so good and you stick to the simple moves.
Felicidades y muchas gracias por exelente explicación tan detallada y por examinar y presentar secuencias de vueltas tan avanzadas 👌 También para poder aplicar vueltas así se necesita una mujer que ya tenga mucha experiencia 😬
"Technique is an all of the time thing, not a some of the time thing!" Oh, how true brother. I am now seeing more reference to the On2 counts. Thanks for that. I don't have to think as much, this way. ;)
Not the first time seeing Terry, but first time seeing one of your videos. Well explained breakdown of one of his complex manoeuvres. I often miss his prep work for his moves - in this case I missed his flick to secure the setenta hold on his partner's left side. I'll have to find one very understanding (and patient) partner to try to attempt it.
Joe, I have always enjoyed your videos. I have compared your videos to others and your’s are more accurate and hold true to the ‘ line ‘. I’m not a good salsero but I always do my best to hold true to the line. If one of my favorite follower comes out of her line I say ‘ I did something wrong because I made you come out of your line’. I not talking about some moves that are casino ruedas, but sloppy footwork. One example is your videos one the 360. I’ve watched a few others and yours is the only one that the 1 is next to her left and as far back as possible. In my opinion this causes a cleaner CBL which keeps her on her line. Others break the 1 in front of her, which means his 2 is on her track. So for her to do the CBL she has to go to line 1 ( I count the line leads left to right 1,2,3). I also like math hahaha. Thank for for your help.
I am always surprised, impressed and relieved to see that there are other out there like you that are as analytical as I when it comes to dance. Thanks so much for the input. You are who I do these for! 👏👏👏
Another fantastic video. It's interesting that you call the "outside" turn a progressive basic. After all it's only "outside" or away from the lead when he is standing to the followers left. I'm trying to come up with a "standard" lexicon to describe salsa mouvements. For turns, I use mouvement (or the absence thereof), revolutions, rotation ... So, the outside turn would be a travelling 1 and 1/2 right-hand or clockwise turn. A mouthful! Perhaps a "progressive basic" is better. ;) It's certainly easier to say and remember. Anyway, I too love to breakdown moves... even if I cannot always do them afterwords. Ha ha ha. I find, however, that it is actually quite difficult to transpose moves into words. I admire how clearly and succinctly you do this.
I call it a progressive turn. A progressive basic is when the follow takes longer strides in their steps. Making their 3rd step. The 3 if dancing on1, 1 step if dancing on2 is more forward than feet together. I think when people are first learning the basic step, it's easier to show forward and together...back and together. So there is a structure they can follow. In time everyone dances a progressive basic. Hope I explained that well enough.
@@JoeFigueroaLIRDANCE I just re-read your comment. I learned at first to dance On1 and used the fwd-together back-together method. I now usually dance On2 (syncopated) so that my basic starts on 8-&-1 (ball of the foot - heel - weigh transfer), that looks like two 4/4 counts for one step -- two eighth notes (tu-tu) and one quarter note. Merges together it looks and feels like one long step. This "step" and it's mirror on 4-&-5 I do pretty much in place. The break steps 2 or 6 move away from this middle ground. The "rock back" steps -- 3 or 7 -- are anchored in the middle where the 8... / 4... steps were executed. The steps 2 and 3 or 6 and 7 are also two 4/4 counts long but executed as quarter notes. Hence the "quick-quick" impression. So, were I teaching On1, I might use the method you describe above. On2, especially syncopated On2, unlikely. Now, a progressive basic would be something akin to what the follower has to do when she starts down the line in a cross-body lead. Then she does have to take a step forward on 8-&-1. There are many instances where this occurs. And you are right... after dancers reach a certain level the number of simple basics they perform in one dance is fairly limited. We all end up doing something else generally forgetting about our feet. It's just when when we start to pull movements apart or worse teach them that we start splitting hairs. The French have a very impolite way of saying that. If we ever meet, say in Paris at PISC, I'll explain. Anyway... My initial comment had more to do with the fact than an "outside" turn is not always to the outside. It depends on which track the lead stands. The progressive turn, aka outside turn, however, is always a clockwise turn... a travelling 1.5 revolution clockwise turn.
@rianmonnahan INTERESTING thought! You're right. Inside turns is a subjective term. Gives me an idea to do a video on what I refer to as "back lead" or "switched" movements. Thanks! 👍🏽
I really like the way you break these moves down. I also appreciate the humour you interject into your analysis. It makes it more fun, less dry. Super Mario makes these moves look simple while, in reality, they are very difficult to understand and even more difficult to execute either as a lead or a follower. Many thanks.
