November 27, 2005
This is the second half of Salsa patterns I had wanted to write for beginning students for a long time. This post attempts to explain cross body lead, Copa and Enchufe mainly for the leader with more emphasis on footwork. The first half dealt with basic forward-and-back step, back-to-back step and pivot turns.
As was the case in Part I, feet shaded in gray have the weight of the body on them. Men’s feet are pointing up, and women’s feet (smaller footprint compared to men’s footprint) are pointing down in the beginning of the routines (during beat 1 as shown and also in beat 8 in previous measure/bar not shown). Gray rectangle marks the line of dance as used by cross body lead style or LA style.
Figure 6. Cross body lead (CBL, X-body, etc)
Start with open hold or closed hold on 8, at which all feet are set together.
1 L foot forward
2 R foot to side R (and start turning 1/4 counterclockwise)
3 L foot together and complete body/feet movement of 1/4 turn counterclockwise while opening up room along the line in which the follower will travel during the next half measure
5 R foot in place (sideway or backward movement is allowed but is not recommended. Many beginners will feel a strong urge to take a step in either direction (more likely backwards) because it can help with keeping timing. If such movement is made, make the distance as small as possible)
6 L foot in place or start turning slightly towards the follower
7 (and 8) R foot turn toward follower to get into open or closed hold while dragging L foot along to end with feet together
Having leader’s body positioned thus on 3/4 (at 90 degree angle to each other) is a key signal to the follower that cross body lead will be led. However, this body positioning should be considered an “indicator” signal rather than an “execution” signal. The “execution” signal is made on 5 (a slight pressure on follower’s shoulder with R hand when starting with closed hold or a gentle pull forward along follower’s line with R-L when starting with open hold). Even after either of the execution signal, cross body lead can be aborted with a “blocking” maneuver involving absorbing of follower’s forward movement with L-R near the start of 6, which is a signal for the follower to move back to her original position without completing the cross body lead.
It’s possible to argue that cross body lead is equivalent to Cuban move Dile que no. The difference between the two is that Dile que no involves the follower moving in circular motion while cross body lead involves the follower moving in a line. The circular movement versus linear movement is one the biggest difference between Salsa Cubana and Salsa LA-on 1.
Cross body lead has many variations, stylizations, etc. The diagram as drawn above would not have changed for cross body lead with 1 1/2 counterclockwise turn for the follower during 5,6,7. If a cross body lead with 1 1/2 clockwise turn for the follower is lead, follower would starting turning towards her right on 6 (instead of turning left). Follower could also turn only 1 turn instead of 1/2 or 1 1/2 turn to end with a wrap (starting with open hold with all connections kept intact) or end with Titanic or its variations (starting with crossed hold). Cross body lead is thus a very important foundation or basic building block to learning LA style Salsa on-1 (and NY style on-2 also).
Figure 7. Copa (in-and-out, reverse cross body lead ending with follower going back, etc)
Copa and its variations are performed with crossed hold, doubly crossed hold, R-R hold or L-L hold. In Cambridge (which I’m sure is not unique), Copa is most often taught to new students with crossed hold with L-L on top.
1 L foot slightly back to initiate open break
2 R foot forward and towards L (stepping in front of R foot) as R-R gently pulls follower forward while L-L is lifted high and starts going over follower’s head – also leader starts turning 1/4 clockwise to face the follower’s line
3 L foot together (Often, teachers will get leader and follower to assume a Titanic-like position here with both arms outstretched and the body of the leader situated behind follower’s body with both facing the more-or-less the same direction. I think this parallel body positioning is okay but I think follower’s feet are naturally positioned along the line as shown in the diagram above. Also, when leading a traditional Copa (in which the follower goes back where she came from as is the case here), having R hand (or R-R) on follower’s R shoulder or R waist can make it easier for less experienced followers to know that she will be going back on 5,6,7 and thus reduce chance of stumbling.)
5 R foot in place (avoid any unnecessary movement) – lead follower back along her line toward her original position
6 L foot in place (and possibly starting turning toward left or counterclockwise) – lead follower to turn counterclockwise to get back to open position by 8/1 (strictly speaking 1/2 turn is allowed but pretty much everyone leads a 1 1/2 traveling turn for the follower) with L-L high
7 R foot step forward towards the follower as leader turns 1/4 counterclockwise (or complete this turn) with L foot dragged along to have both feet together by 8.
Copa is another basic albeit slightly more advanced routine compared to cross body lead. As is the case with cross body lead, many variations, entrances and exits exist for Copa. For example, instead of leading follower back to her original position on 5,6,7, leaders can lead follower to continue towards the direction she was moving to on 1,2,3 usually with 1 1/2 counterclockwise turn (led with R-R high in this case instead of L-L when started with crossed hold as described in the example above).
Figure 8. Enchufe modified for Salsa LA/NY style
Start with open hold or L-R hold.
1 L foot slightly back to initiate open break (L-R preparation motion is possible)
2 R foot forward and to left (crossing over in front of L foot) with L-R high
3 L foot forward and start turning clockwise and L-R is gradually brought down
4 complete clockwise turn to face follower
5 R foot basic backward step (I’m showing the simplest option here. Starting hook turn is another option)
6 weight on L foot (not shown in diagram above)
7 R foot back (forward) together
Some differences exist but this is Enchufe modified to fit a linear style of LA and NY. In Salsa Cubana, leader and follower moves in circular motion with the couple generally turning about 1/3 turn clockwise as a unit instead of 1/2 turn clockwise (and exchange of places) as shown in the diagram above. Also, in Cuban Enchufe, leader and follower often step forward on 1 – although some teachers (notably Rhona & Helen) step in place on 1 and use a preparatory motion, which is closer to open break depicted above. In Casino Rueda, enchufe involves exchange of places between the leader and follower, which is somewhat like 1/2 turn as a unit but is not exactly the same. I don’t think of this LA-fied Enchufe as standard LA move and do not use it much, but it can be useful because of its simplicity and similarity to Cuban Enchufe, which makes it especially useful when dancing with someone who is familiar with Cuban style Salsa but not so with LA style Salsa.
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