A good dancer does not loose the timing while dancing. Serious students should not allow themselves to loose rhythm more than one time per song. If you do loose the rhythm or time, follow this rule. You are responsible for regaining the correct beat from your partner. This usually only requires holding for one extra count or beat. If you are really off, do a freestyle turn or some footwork while observing your partner’s correct rhythm and fall in, on beat. For many people maintenance of rhythm throughout the song is a difficult task. However this element is imperative and must be learned. Don’t be so anxious to look good doing moves and executing turn patterns that you fail to adhere to correct rhythm.

The greatest dancers will occasionally make a mistake during turns with a partner. However they will never loose the time and can recover gracefully because they are dancing on beat and can try the turn again or continue with another move.
Now on to a small but important detail. When a man escorts a woman to the dance floor he should not begin dancing and expect his partner to fall in to time. Proper dance etiquette dictates that the man takes the woman into a closed position and then begins to dance. The female will feel the man begin to move and will start in sync with him.

Be sure to listen to the music. Salsa employs different and changing dynamics throughout a single song. Each song has an introduction followed by the singer conveying the story line. (You don’t have to understand Spanish to be aware of this). Next comes the backup singers singing the chorus. Later the musicians will play instrumental parts that can be very exciting.
The couple should dance in closed position for approximately the first 30 seconds of the song. This allows the couple an opportunity to develop a sense of the music. Small inside turns can be employed but go back to the closed position. There will be plenty of time to incorporate turn combinations, free style and independent movement during the rest of the song. Begin your more complicated turn patterns when the chorus begins and really let loose when the musicians take off.

A seasoned dancer listens to the music, is inspired by the varying dynamics and takes their cues from them. If the song becomes melodic for instance with a string section, a smoother, more fluid movement is called for. El Cantante by Hector Lavoe is a good example of a symphonic sound used during a portion of the song. If the song moves into a rap or reggae style the movement calls for a funkier styling in your step. A perfect example of this can be found in DLG’s Juliana. Adjust your style according to the feel of the music.

An element that very few dancers incorporate into their style is the technique of spotting. Spotting is done during turns. The person turning spots an object, for instance the partner’s face or shoulder, and keeps an eye on that object while the body is beginning to turn. Then the dancer turns his or her head to re-spot the object before the body completes the entire turn. This technique prevents the dancer from getting dizzy and helps develop precision turns that don’t stray from the imaginary axis on which one turns.

Speaking of precision turns, it is very helpful to turn on that imaginary axis by keeping one foot planted on the floor. When one foot is planted during a turn it becomes difficult to step very far from that imaginary axis. A very skilled male dancer will lead the woman by applying pressure to her waist and back rather than by moving the arm that is holding the woman’s hand. By keeping that arm still a couple develops an elegant look and stance.

Last but not least is the importance of retaining contact with your partner. Always remember your partner is the center of attention. Even when dancing in open position and doing your freestyle moves you can direct attention to your partner. Also don’t be afraid to flirt a bit. Flirting needn’t be blatant or overt unless of course you want it to be. Dancing to Salsa is a sensual experience. Go with it and have fun!