There is some debate whether Salsa and Mambo are the same dance. However, if we get technical, we could argue that Bolero, Rumba, Son, Mambo, Salsa, Cumbia and others often appear to be the same dance. The fact is that in modern music each dance often includes musical segments from other dances and so, one dance borrows moves from another. Eventually the moves merge - so each dance often appears to have vaguely similar timings and steps, but in a pure piece, the mood of the music, the rhythm, the tempo and the dance technique for each is different. So, don't let people confuse you with technicalities! Each of these dances has a uniqueness of it's own! You might be able to transfer many moves from one dance to another, but there are many instances, where the tempo suggests footwork and moves that just don't work anywhere but in that one dance.

Cha Cha is a reinvention of the Mambo, and there are many musical arrangements that beg for both dances to be performed in the same piece of music. Sometimes, it is a Cha Cha piece that has a Mambo interlude and sometimes it is a Mambo piece with a Cha Cha interlude. So it is really worth while knowing how to do both! The same can be said for Mambo and Salsa. The biggest difference between Mambo and Salsa is that, rarely can you Salsa to contemporary North American Music. In contrast, there are lots of tracks that beg you to do the Mambo!

Despite it's African resonance, the mambo can be traced back to an unexpected source, English country dance, which in the 17th century became the contredanse at the French court and later the contradanza in Spain. In the 18th century the contradanza reached Cuba where it was known as danza and became the national dance. In the 19th century, with the arrival of planters and their slaves who fled from Haiti after it became independent, a particularly spicy syncopation called the cinquillo was added to the danza (tango derived from the contradanza also has this cinquillo).

Through this time, the Native African Folk Rumba which is essentially a sex pantomime danced extremely fast with exaggerated hip movements, was merged into the contradanza to form Son and by the end of the 19th century the formality of the contradanza was replaced by freer, more spontaneous dancing. This new kind of music was known as danzon.

The Native African Folk Rumbas use double-entendre to convey an ever present moral. These traits are remarkably present in the yambu dances such as the one described below. Multiple levels of interpretation are afforded by the seemingly common storylines. Simplicity of the action allows for children to receive messages directed at them, while the deeper interpretation conveys sexual warnings directed at adult audiences. More importantly, both meanings comment on acceptable and non-acceptable behaviors within the Afro-Cuban community. This is illustrated by the following yambu.

"Laila" is a yambu about a housekeeper. The female dancer starts by moving around making cleaning motions with her hands. The male dancer enters, pretending to drop a paper or something on the floor. As Laila bends over to pick it up the male dancer begins to rub his groin, preparing to vacuna. She stands up at the very last moment, and politely hands him whatever he dropped. Foiled, he tries this move several times, and every time she moves before he can thrust. Finally, she excuses herself from him and pretends to be scrubbing the floor on the other side of the dance area. She is down on her hands and knees, vigorously moving her body to the rhythm of the scrubbing. His eyes light up and he prepares for vacuna, but she slides out of the way and onto her feet, beginning to rumba. When the rumba is at it's height and the male thinks he has prepared her for his thrust once again, another woman comes onto the floor and chases him away.

This story mimics the relations between slaves and masters in colonial Cuba. It's message is that the master's wife would often prevent the master from having closer relations with the African women. From the Afro-Cuban point of view this story ridicules the master, but it still portrays Laila as passive and sexually accessible.

It will help your dance expression and interpretation if you think of Mambo and the other Latin dances as being a sexual pantomime. The thought to hold, is that you are trying to seduce the lady but she is trying to refuse your advances. You push forward and she pushes you away. As you seem to have lost the battle, she titillates you with moves that suggest, you might get what you want but as in the real world, you probably won't get it! When you are dancing, look at your partner. Guys, you are the slave master, seduce her with your eyes. You want this girl! Girls, you're a slave girl, you can't deny the master but you can't demure to his wishes, you must resist him. Look him in the eye, defy him, make him accept your humanity, make him love you!

"...A little bit of Jessica, in my life..." (Mambo No5)

The Rumba, Mambo, Cha Cha and Salsa have a group of basic steps that are common to all four dances. The man steps forward left, rocks back onto his right foot and then moves the left foot side back or back close (the lady mirrors the man). The variations which give each dance its uniqueness occur on the fourth (eighth) beat and on the following beat (fifth/first). These steps can be used to tell a story that is reminiscent of the Yambus found in Native African folk Rumba. The man attempts to seduce the woman but she pushes him away. He backs off but she encourages him and so he tries again and again and again.

Rumba, Mamba, Clave based dances. In the clave a sense of excitement is built and then subdued by a quickening and then a slowing of the beat pattern. Suspense is built by playing two beats in quick succession in the middle of one bar and then allowing the drama to ebb away through a pause, two longish beats, one short beat and another pause.

In the dance, the dancers express this excitement with the man, contemplating the promise of vacuma, moving forward left on the 2 count. His partner resists him pushing him back (right rock back on count 3). He backs off (step back left on count 4) and pauses to think what to do next. He steps away from her on count 6 (back right) but she encourages him by stepping forward. He rocks forward but she plays coy and rocks back. He steps forward but she steps back. He pauses, thinks to himself "Is she just playing with me?" but he thinks he sees a glimmer in her eye and he decides to try again. And so the cycle begins!

Mainly because of the tempo of the music, this story is more evident in Rumba than its descendants but despite the increased tempo of the music for the other dances, the feel in their basics makes the imagery still valid.

Rhythm & Latin Dances

Cha-Cha: An exciting syncopated latin dance, the Cha-Cha originated in the 1950's as a slowed-down Mambo. During the 1950's, the Cha Cha was made famous by many Latino bands such as Xavier Cugat and Prez Prado. Cuban in origin, the Cha Cha rhythm is found in the much of today's popular music.The Cha Cha gathers its personality, character, rhythm, basis and charm from two major dance sources. It is a derivation of the Mambo through its latin music, it is also a step-child of the Swing, as it is danced to its 1-2-3, step-step rhythm. The Cha Cha gets its name and character from its distinct repetitive foot rhythm. This dance is included in both American and International Style dance syllabii.

Rumba: The Rumba was originally a courtship, marriage and street dance that was African in origin. The Rumba met some opposition from society's upper crust because of the suggestive body and hip movements. The characteristic feature is to take each step without initially placing the weight on that step. Steps are made with a slightly bent knee which, when straightened, cause the hips to sway from side to side in what has come to be known as "Cuban Motion."The Rumba is now considered a Cuban dance and is often referred to as the "dance of love." Sultry and romantic, the music is a mixture of African and Latin rhythms. This dance is included in both American and International Style dance syllabii.

Mambo: The spicy Mambo as we know it now, grew out of the Danzon (national music of Cuba) and grasped the imagination of the American dance scene at the close of WWII. Later, the Swing-Jazz and upbeat Latin music joined to form the updated and uninhibited Mambo. The Mambo is a spot dance and the steps are quite compact. Mambo is part of the American Style syllabus.

Bolero: Originally a Spanish dance in 3/4 time, the Bolero was modified in Cuba to become 2/4 time, then eventually into 4/4. It is now present as a very slow type of Rumba rhythm. The music is frequently arranged with Spanish vocals and a subtle percussion effect, usually implemented with Conga or Bongos. Bolero is part of the American Style syllabus.

Samba: The Samba is a lively Brazilian dance and known to Brazilians as their native dance. The Samba was first introduced as a street dance in 1917 but Brazilian society finally adopted it as a ballroom dance in 1930. The Samba is sometimes referred to as a Carioca, a Baion, or a Batucado. The difference is mostly in the tempo played, since the steps in all variations are very similar. The style is to bounce steadily and smoothly in 2/4 meter. It is thought that the Samba was introduced in the United States in 1939 by the late Carmen Miranda. Unlike the other Latin dances that are stationary, it has a traveling action around the floor with lots of spins and controlled bounces. Samba is part of the International Style syllabus.

Jive: The Jive is a very fast, acrobatic, and lively dance made popular during WWII by the swing music of Benny Goodman, Artie Shaw, Tommy Dorsey, and Glen Miller. It is the European version of the East Coast Swing. Six and eight count patterns make up this dance as in East Coast Swing; however, it is danced quite bouncy with very sharp foot kicks and "flicks". Unlike East Coast Swing, this is danced at a faster tempo swing music and is meant for competitive style dancing. The Jive is part of the International Style syllabus, and is the internaitonal version of the East Coast or American Swing.

East Coast or American Swing: This dance is frequently referred to as Triple Step Swing due to the rhythm of the basic triple step. This dance consists of six and eight count patterns, which require a rock step back by both lead and woman to begin. It is a circular dance that is danced with a bounce and is very grounded and not high in the legs. This bounce requires the dancer to stay very smooth and not jump around much. East Coast Swing is the base for all swing dances. The East Coast or American Swing is part of the American Style syllabus, and is considered the American version of the Jive.

Paso-Doble: The Paso Doble is a theatrical Spanish dance that characterizes the man as the matador and the lady as his cape. Based on Flamenco dancing, the character of the dance is arrogant and passionate. Paso-Doble is part of the International Style syllabus.

Smooth and Standard Dances

Waltz: The romantic Slow Waltz is an offspring of the faster Viennese Waltz in 3/4 time. The rhythm was gradually slowed down over time as songwriters of ballads and love songs chose to compose in a slower and more comfortable tempo. This dance has continued to rise in popularity at anniversaries, graduations, and weddings. Waltz is part of both American and International Style syllabii.

Foxtrot: The Foxtrot remains the most popular social dance in the world today. The dance originated in 1913 when a vaudeville performer by the name of Harry Fox performed a little "trot" which appealed to the social dance teachers in New York and thus the Foxtrot was born. Little did Harry Fox realize that his trotting on a New York stage in 1913 would become an overnight success. The Foxtrot is the foundation for many of the social dances that followed. It is enjoyed by all age groups for its ease of movement and smooth style. Foxtrot music is played by most social dance orchestras and is one of the easiest dances to learn in the American Style. The International Foxtrot is one of the most deceiving dances as it looks very easy, but is one of the most difficult dances to do well. Foxtrot is part of both International and American Style Syllabii.

Tango: The Tango is a progressive dance moving along the line of dance using body movement. A staccato movement of the feet and flexed knees highlight the dramatic style of the Tango. The Tango originated in the bordellos of Buenos Aires, Argentina and is done in a slightly different manner to the other dances. The hold is very different, with the lady's arm under the man's, which creates a tighter hold for a quick staccato action and stylized poses. (Not to be confused with Argentine Tango). Tango is part of both International and American Style Syllabii.

Viennese Waltz: The Viennese Waltz is a fast waltz which originated in Austria. Joseph Lanner and Johann Strauss wrote the first waltzes of the early 19th century. The German, Paul Krebs, choreographed the Viennese Waltz style to which we dance today. The music is fast in tempo and sends the couples whirling around the floor--first one way, then another.The dance enjoyed a great deal of popularity not only in Europe but also in America, and has been used in many Hollywood productions. The Viennese Waltz is part of both the International and American Style syllabii.

Quickstep: As the name implies, the Quickstep is a very quick and lively dance, comprised of hops, skips, and kicks. The dance began as a quick version of Foxtrot mixed with the Charleston, and musical "Jazz" influences. Quickstep is part of the International Style syllabus.

Swing

Lindy Hop: This dance came about with the big band era and is danced to fast tempo swing. All Lindy steps are eight count patterns done in a circular fashion with a lot of kicks, flicks, hops, lifts, and drops. It has been said that this dance gained its name from Charles Lindbergh and his flight to the United States.When news came of his safe arrival, dancers in nightclubs began dancing with such enthusiasm in celebration, a new dance was born.

East Coast Swing: Also known as American Swing, this dance is frequently referred to as Triple Step Swing due to the rhythm of the basic triple step. This dance consists of six and eight count patterns, which require a rock step back by both lead and woman to begin. It is a circular dance that is danced with a bounce and is very grounded and not high in the legs. This bounce requires the dancer to stay very smooth and not jump around much. East Coast Swing is the base for all swing dances.

West Coast Swing: This dance consists of six and eight count patterns, which are done in a slot. The woman no longer rocks back as in East Coast Swing but instead she always walks forward on count one. This dance is usually done to medium tempo swing music, or music that is slower than typically used for East Coast Swing. "Mustang Sally" is an excellent example of a West Coast Swing. However, those who achieve a high skill level in this dance can and do dance it to faster tempo music. This dance has no bounce and has a very smooth feel to it. Rarely will you ever see high kicks or moves which require the dancer to leave the floor.

Jive: The Jive is a very fast, acrobatic, and lively dance made popular during WWII by the swing music of Benny Goodman, Artie Shaw, Tommy Dorsey, and Glen Miller. It is the European version of the East Coast Swing. Six and eight count patterns make up this dance as in East Coast Swing; however, it is danced quite bouncy with very sharp kicks and flicks. Unlike East Coast Swing, this is danced at a faster tempo swing music and is meant for competitive style dancing.

Charleston: 1920's Charleston is the dance that we associate with the flamboyant flappers of that era, however, Charleston had been around long before. There are accounts of people dancing the Charleston in the American South as early as 1900. Charleston became a national dance craze when it was danced on Broadway in 1922 and remained popular until the Blackbottom, a new dance to the same music, hit the scene in 1926. Charleston can be done solo or with a partner.

Club Dance

Salsa: The word Salsa means sauce denoting a "hot" flavor and is best distinguished from other Latin music styles by defining it as the New York sound developed by Puerto Rican musicians in New York. The dance structure is largely associated with mambo type patterns and has a particular feeling that is associated mainly with the Clave and the Montuno.

Hustle: The Hustle (Disco) is a member of the Swing family and is like the West Coast Swing in pattern. It has a distinct flavor utilizing flamboyant Disco-style music. Its great accomplishment was to bring partner-style dancing back into vogue among nightclub dancers in the 70's. Hustle is a fast, smooth dance, with the lady spinning almost constantly, while her partner draws her close and sends her away.

Night Club Two-Step: Also called the California Two-Step. Two-Step (Night Club Version), not to be confused with country two-step, is one of the most practical and versatile social dances ever conceived. It is designed to be used with contemporary soft rock. This type of music is common just about everywhere, nightclubs, radio, etc. The rhythm of the dance is very simple and rarely changes from the 1 & 2 count. This romantic dance fills a gap where no other ballroom dance fits. It gives the dancer, whether beginning or advanced, the opportunity to express and create without requiring the use of a rigid technique. The Night Club Two-Step is attractive, romantic, and is a real asset to learn due to its versatility.

Contents

• Introduction
• What to Wear
  • Protocol
  • Comfort and safety
• Personal Grooming
• Asking for a Dance
• Whom to Ask
• Declining a Dance
• Being Declined
• On the Floor
  • Line of dance
  • Getting on the floor
  • At the end of the dance
  • Leaving the floor
  • Leaving entrances free
  • Sharing the floor
  • Aerials and choreography
• No-Fault Dancing
• Did Your Partner Enjoy the Dance?
  • Dancing to the level of partner
  • Being sensitive to partner's preferences
  • Demeanor
• Teaching on the Floor
  • Unsolicited teaching
  • Soliciting teaching on the floor
• Summary

Introduction

Dance etiquette is a set of guidelines that help us navigate the social dimensions of dancing.

Why do we care about dance etiquette? Because it is nice to know how to go about in the dancing circles. It makes the difference between having a happy or unhappy dancing experience, the difference between people wanting, or not wanting to dance with you.

What to Wear?

Protocol:

Dancing has its own culture. If you want to join a group of dancers and enjoy their company, it is a good idea to follow the accepted costums of their dance group. One of the ways you get accepted into a group is by the way you're dressed.

How formally should we dress at a dance? The general rule is this: the more formal the dance, the more formal the outfit. For example, if you are invited to a formal charity ball, anything less than a tuxedo for men or ball gown for women would be inappropriate. On the other hand, at a dance lesson at your local studio, there is usually no need to dress formally.

A little common sense goes a long way. Also, if in doubt, follow the crowd! See what others do and follow suit. If all else fails, you can always ask the dance organizers about the dress code.

Below I give a guideline and explanation for dress code, which you may see on invitations and announcements, as well as a general idea of what to wear at different dance venues.

• White tie: White tie is the most formal category of dressing. For the gentleman, it means a black tailcoat with matching trousers trimmed by ribbon of braid or satin on the outside of each trouser leg, a white pique' tie, white pique' single or double-breasted vest, and a wing-collar shirt with a stiff pique' front. White gloves are nice optional accessories for gentlemen. The lady appears in a ball gown, which is an evening dress with a full skirt, possibly with open back and low neck line. Elbow-length gloves are a nice addition for the lady.
• Black tie: Gentlemen in black tuxedo coat, trousers trimmed with satin ribbon along the outside of the legs, cummerband and bow tie. The phrase ``black tie'' does not refer to the color of the tie. In fact colorful ties (with matching cummerbands) are very popular. Ladies appear in ball gowns.
• Black tie optional: Same as above, except gentlemen have the option of wearing a regular suit with a tie (bow tie preferred), and ladies wear a cocktail gown or dinner dress. Long to full-length skirts are preferred; short skirts are not recommended.
• Formal: Gentlemen in suit and tie (nowadays a sport coat is often an acceptable replacement for a full suit), ladies in cocktail gown or evening dress.
• Semi-formal: Gentlemen in dress slacks with dress shirt and tie, jacket is optional. Other options include a vest or a sweater that shows the tie. At the lower end of formality, these events can be attended without a tie, e.g. with a turtleneck and jacket. Ladies in evening dress or dinner dress, but other chic outfits are also acceptable (like flowing pants, etc.)
• Dressy Casual: Applies to most practice dances, workshops, and dance lessons. Gentlemen can wear coton slacks with solid color T-shirt, turtleneck, mock turtleneck, or polo shirt. Ladies have a much wider set of clothing options. Use your imagination and sense of fashion. In general this is a conservative and toned-down appearance that has grown increasingly popular on the dance floors. Don't forget your dance shoes!
• Country/Western: Country western attire has variations across the country, but generally it is acceptable to go in blue or black jeans (not stone-washed) and cowboy boots. Make sure that the boots will not mark the dance floor. If you wear a hat, it may be a good idea to take it off when going on the floor. Note that country western folks can be very sensitive about their hats. It is improper to touch or otherwise handle someone's hat, even if it sits on a table. For a lady to pick up and put on a gentleman's hat is considered very flirtatious.
• Milongas: (Argentine Tango) For both ladies and gentlemen, black or dark themes are preferred.
• Latin: This refers to venues that specialize in Summary
  • Etiquette is here to ensure everyone has a good time in a social dance setting, so pay attention to it.
  • Your outfit and accessories should be comfortable, safe, and also reflect the culture and level of formality of the dance group. Most importantly, do not forget your dance shoes.
  • Ask everyone to dance. Do not monopolize one partner for the whole night.
  • Today's beginners will be the good dancers of tomorrow, so be nice to them and dance with them.
  • Do not decline a dance unless you absolutely have to. Having declined a dance, you cannot dance the same song with someone else.
  • Be considerate of other couples on the floor. Exercise good floorcraft. Do not cut other couples off. No aerials or choreographed steps on the social dance floor!
  • Stationary dancers (e.g. Swing dancers) stay in the middle, traveling dancers move on the boundary along the line of dance.
  • Avoid patterns that your partner cannot do: dance to the level of your partner.
  • Never blame your partner for missteps.
  • No unsolicited teaching on the floor!
  • Smile, be warm, be personable, be nice.