Dancing in the slot or not

[David]

How important is it to you that you dance in the slot? I know that many people in LA Style teach this frequently. Do you think the slot is mostly for crowded dance floors? Or is it an essential part of the dance regardless?

[clave]

If salsa were a written language, the slot would be its grammar: one could still understand a grammatically challenged person but it wouldn't be as much fun chatting with them.

I use the slot for many things:

- dancing in the slot looks neat

- when learning new moves, I use it as a coordinate system for remembering which way one is supposed to end up facing

- in a crowded club it's a contract between me and the guy next to me keeping our follows from getting bruised

- it lets me more effectively use the edges of dancefloors where it's much easier to protect one's space and partner

- when starting the first dance with a stranger it's an excellent indicator of their ability--better dancers stay within a tighter slot

- it lets me do more complex moves--if I'm confident that the follow will end up where I expect her to I can spend more time facing away, styling, add an extra spin, etc.

- I can practice all the slotted moves between the countertop and the fridge in the kitchen

- in the slot one can dance longer, wastes less energy running around

Slot is good, use it. Use motion only for effect, for example when performing or when a cha-cha empties the dancefloor. ;)

[MacMoto]

As a follower in a scene where you get almost equal measures of Cuban style and LA style dancing, I've come to the understanding that:

In Cuban style, the follower must keep moving around in relation to where the leader is.

In LA style, the follower must stay in the slot until the lead tells otherwise.

One of the most common complaints you hear from LA style leaders is that girls who are used to dancing with Cuban style leaders keep going off the slot and move circularly, making it difficult to execute moves (I plead guilty :oops: -- I'm working on it).
When dancing with a leader I don't know (or with a lead who dances both styles), I work out which rule I have to follow by the basic he does (mambo or casino) and whether he leads a CBL or a Dile Que No.

Often the LA style leads in my area choose to move around or do circular moves for a while instead of stay in the same slot. It may be because the slot is blocked by other dancers (which happens frequently), or because there's plenty of space to move around in -- so why not use it? Once the leader CBL's you, however, you as a follower must stay in the slot laid down by the leader until he leads you away from it.

[tj]

When dancing with a leader I don't know (or with a lead who dances both styles), I work out which rule I have to follow by the basic he does (mambo or casino) and whether he leads a CBL or a Dile Que No.


Hey M^2,

I've taken both LA Style and Casino style classes in the past, and they were the same in the cities where I was taught. What's the difference in how the two are danced where you're at?

[MacMoto]

When dancing with a leader I don't know (or with a lead who dances both styles), I work out which rule I have to follow by the basic he does (mambo or casino) and whether he leads a CBL or a Dile Que No.


Hey M^2,

I've taken both LA Style and Casino style classes in the past, and they were the same in the cities where I was taught. What's the difference in how the two are danced where you're at?
Do you mean the CBL and Dile Que No?

I suppose the basic principle (the lead and follow swapping places) is the same, but they FEEL different because of the difference in the underlying principle (circular vs slot). In the CBL, the leader moves out of the slot to make way for the follow to walk through. In Dile Que No, the follower's path is more fan-shaped (or triangular) around the leader -- at least that's how it feels to me as a follower. The leader swings the follower back to open up, then the follower steps back out and round. It's this feeling of being swung back that tells me it's a Dile Que No and not a CBL.

http://perso.wanadoo.es/jcgm/vp-rueda-dilequeno.mpg
This video shows Dile Que No in Rueda, but the move is (should be) exactly the same when dancing one-on-one.

For comparison, see CBL instruction clips here:
http://www.ballroomdancers.com/Dances/media.asp?Dance=SAL&StepNum=4

[tj]

When dancing with a leader I don't know (or with a lead who dances both styles), I work out which rule I have to follow by the basic he does (mambo or casino) and whether he leads a CBL or a Dile Que No.


Hey M^2,

I've taken both LA Style and Casino style classes in the past, and they were the same in the cities where I was taught. What's the difference in how the two are danced where you're at?
Do you mean the CBL and Dile Que No?

I suppose the basic principle (the lead and follow swapping places) is the same, but they FEEL different because of the difference in the underlying principle (circular vs slot). In the CBL, the leader moves out of the slot to make way for the follow to walk through. In Dile Que No, the follower's path is more fan-shaped (or triangular) around the leader -- at least that's how it feels to me as a follower. The leader swings the follower back to open up, then the follower steps back out and round. It's this feeling of being swung back that tells me it's a Dile Que No and not a CBL.

http://perso.wanadoo.es/jcgm/vp-rueda-dilequeno.mpg
This video shows Dile Que No in Rueda, but the move is (should be) exactly the same when dancing one-on-one.

For comparison, see CBL instruction clips here:
http://www.ballroomdancers.com/Dances/media.asp?Dance=SAL&StepNum=4

Oh, how interesting! It's mildly different in my neck-of-the-woods, where you end up facing each other after a dile que no, before going back into guapea. But I can definitely see the difference in the two clips.

Thanks!

[squirrel]

I guess it all depends on the style you wanna use... Cuban is circular and LA (or NY, which is on2) is in slots...

I prefer slots... but this is because I can do more arm styling and all sorts of shines when I dance LA... with Cuban leaders (I haven't danced with many, but I enjoyed it) it is very difficult to use arm styling and snaps and the like ... you just have to move your body more and forget about the extremities... or use some shines instead of a basic step (I saw that in a girl... she was good!).

The two styles just feel different... but there are leads who prefer to mix them... basically, you can do it, and it's fun! But you have to be careful when choosing the song... not all songs feel comfy to mix...

[MacMoto]

I suppose if I'm forced to choose I prefer LA style too, but I really like the fact that I can have both LA and Cuban in my scene.

There are opportunities for arm styling in Cuban style dancing too (I'm experimenting with this now), and there is a woman I know who has a very snappy style dancing Cuban, and I just love watching her, so these things are not impossible in Cuban style. Still, I agree with Squirrel's point that the slot style seems to give the follower more freedom to express herself.

[azzey]

If salsa were a written language, the slot would be its grammar: one could still understand a grammatically challenged person but it wouldn't be as much fun chatting with them.


In my opinion the slot is like a stabiliser on a bike. It's great for learning to ride when you're new to riding, but eventually you can take it off once your balance, turning ability, directional control etc are good enough.

The reason most don't is because most of us are dancing with partners who are still learning the basics. LA style is only different in this respect because of it's *show* component where teachers actively use the slot to allow dancers to face the audience continuously for presentation purposes.

In this context technique would probably be closer the grammar analogy.

[azzey]

Do you mean the CBL and Dile Que No?

I suppose the basic principle (the lead and follow swapping places) is the same, but they FEEL different because of the difference in the underlying principle (circular vs slot). In the CBL, the leader moves out of the slot to make way for the follow to walk through. In Dile Que No, the follower's path is more fan-shaped (or triangular) around the leader -- at least that's how it feels to me as a follower. The leader swings the follower back to open up, then the follower steps back out and round. It's this feeling of being swung back that tells me it's a Dile Que No and not a CBL.

http://perso.wanadoo.es/jcgm/vp-rueda-dilequeno.mpg
This video shows Dile Que No in Rueda, but the move is (should be) exactly the same when dancing one-on-one.

For comparison, see CBL instruction clips here:
http://www.ballroomdancers.com/Dances/media.asp?Dance=SAL&StepNum=4

You are correct in what you say but *not* in that they are different steps.

The feeling *is* different between LA style and Cuban style since leaders lead (swing) from the body in Cuban and the girl clings onto the shoulder and right arm to pull her around by using the *momentum* he gives her. The follower does a tap on the 4th beat to enable change of direction along the edge of the fan and the leader provides a 'pulse' to speed her to the other side (similar to the LA style pulse).

There is nothing circular about a Dile Que No, it's like u say a fan or angle which can be very acute or very obtuse. However, the amount of swing is determined by the leader and can be *very* shallow, so shallow that it is exactly the same as an LA style CBL.

In LA and NY style although we use a slot, the space is actually *shared* by both the guy and girl meaning that each should move about half way either side to make the space for the follower to travel across. The guy may move a bit more, that's his perogative. As the girl starts her CBL she moves slightly to the right on the 3rd step before travelling across (i.e. very shallow DQN), then as she completes her turn(s) a natural part of her steps positions her back in the original alignment as before she started. This is something which is *not* taught clearly enough in classes.
To be explicit, she doesn't move in a straight line. It's very slightly bowed.

If you don't believe me check out any of the teaching videos from LA instructors or Mayan competition clips. If you can find a top salsera who doesn't do this, please let me know!

I think the way they teach a CBL in the beginners classes (which is usually very simplified and does not explain these complexities) tends to be the same way most people dance unless they really make an effort to study further. NY style is no different except that the angle of the fan is slightly larger and the girl is not required to tap on the 4th beat but instead is already moving smoothly towards the step on the 5th beat.

Also, in Cuban advanced classes the guy and girl are taught to open their bodies at the end of the DQN. You will also see good LA, NY and Puerto Rican style dancers doing this too.

So the only real differences between an LA style CBL and a Cuban Dile Que No are that the cuban one is lead using momentum (i.e. swing motion).

In fact the more I study videos of top teachers in each style the less differences I see. Each are certainly distinct styles however its more in the way the attitude and ethos of the style emphasises particular aspects! There's nothing to stop a cuban dancer from dancing in a slot (often professional Cuban dancers do, except they still move as they do it) or an LA/NY dancer from dancing in a circle except the ability of his partner to follow.

It's not surprising that there are such close similarities in the styles when taught at a high level since...

Puerto Rican style=Cuban flattened out a little but with the same variety in basic steps. A lot of emphasis on foot-work (shines) and poised stylish upper body movement.

NY style=Puerto Rican+Mambo steps/moves.

LA style=Puerto Rican+some Cuban moves and 'pulse'+WC Swing+Jazz steps+Tango+anything else performers want to add to get into Hollywood.

The styles keep borrowing from each other so the gap is getting smaller.
I'm not sure if thats a good thing since diversity keeps dance alive.

[SalsaDanceUnderground]

So check it out— I have received so many questions over the years regarding the pros and cons between the linear L.A. styles and the more circular Cuban, Columbian and Puerto Rican styles. I figured it was best if I break them both down and give a little history between the two and map out some of the pros and cons of each.

The Cuban circular style dates back to the early 1900s when people would dance the streets of Cuba (usually barefoot) to the sounds of African drum beats and Spanish guitars. Bands playing from storefronts and front porches invited people to moves their bodies and dance without worry. These dances that later developed into what we now know as Salsa were less organized, less structured and all about the fun. These were all social dances involving tons of partner swapping and a lot less turn patterns.

There are still many benefits to being able to dance in a circular motion today. For one, it looks very authentic to the original Cuban dances and will get you noticed. Second, there are tons of people who never learned how to dance linear Salsa including the majority of dancers that learned to dance outside the United State. Having a general understanding of Circular turn patterns will allows you to dance with people from all over the world and of all skill levels. On the other hand, it is less organized and takes more space than the linear styles. Less skilled dancers and those who have have had a few too many drinks*** dance a bit more recklessly as we all know. They have the tendency to be less considerate of others on the dance floor. On more than one occasion, Elizabeth has been stepped on by people dancing wildly, all over the place and in giant circular patterns. She has left the club many times with bruises, cuts and broken toenails because many people can't control themselves on the dance floor! It takes a very skilled and sober dancer to dance circular patterns in a crowded place and still dance safely.

Linear Salsa dancing was adopted by Americans for the growing Salsa popularity in the states. Those that have ever danced in packed Salsa club can relate to having their toes stepped on by a woman in high heels or having flailing leader nearly knock you lady over. It quite simply keeps people from running into each other in a crowded club. It is more organized and increase ones turn patern selection and allows for an increase all while keeping the ladies' dainty little out of harms way. Both New York and Las Angeles styles are danced in a line as it is because it creates more predictability and order in a tightly packed club. In addition, dancers gain increased freedom to execute more complex turn patterns in a smaller, more confined space. Most importantly, the most dramatic benefit of dancing is a line is that it allows followers to anticipate exactly what intentions the leader has and exactly where the leader wants them to end a moves.

There is equal opportunity for showing off and styling in either style. It the U.S. however it tends to stands out much more and will gain more respect if the dancing and styling fits withing the constraints of dancing on the line. When Elizabeth and I dance, I generally dance in both lines and circles. We dance in lines to be able to perform more intricate turn patterns and stay out of the way of other dancers. We also use the circular patterns to avoid other couples and move gracefully around the every pulsating dance floor. It is a lot of fun to really break all the rules and do a little Guaguancó on the dance floor sometimes because it looks so different than regular Salsa, all in all, my advice is get good at dancing in a line and play around with circular patterns. Learning both will make you a better dancer, and learning only the less difficult circular style will leave your less well-rounded in the end.

Here are a couple excellent examples of great dancing. The first is Cuban style street dancing and the second is N.Y. style dancing on a line.

[RugKutta]

If salsa were a written language, the slot would be its grammar: one could still understand a grammatically challenged person but it wouldn't be as much fun chatting with them.

I use the slot for many things:

- dancing in the slot looks neat

- when learning new moves, I use it as a coordinate system for remembering which way one is supposed to end up facing

- in a crowded club it's a contract between me and the guy next to me keeping our follows from getting bruised

- it lets me more effectively use the edges of dancefloors where it's much easier to protect one's space and partner

- when starting the first dance with a stranger it's an excellent indicator of their ability--better dancers stay within a tighter slot

- it lets me do more complex moves--if I'm confident that the follow will end up where I expect her to I can spend more time facing away, styling, add an extra spin, etc.

- I can practice all the slotted moves between the countertop and the fridge in the kitchen

- in the slot one can dance longer, wastes less energy running around

Slot is good, use it. Use motion only for effect, for example when performing or when a cha-cha empties the dancefloor. ;)

I totally agree. I love the grammar anaolgy, btw :-)

[Nobody]

There are still many benefits to being able to dance in a circular motion today. For one, it looks very authentic to the original Cuban dances and will get you noticed. Second, there are tons of people who never learned how to dance linear Salsa including the majority of dancers that learned to dance outside the United State. Having a general understanding of Circular turn patterns will allows you to dance with people from all over the world and of all skill levels. On the other hand, it is less organized and takes more space than the linear styles. Less skilled dancers and those who have have had a few too many drinks*** dance a bit more recklessly as we all know. They have the tendency to be less considerate of others on the dance floor. On more than one occasion, Elizabeth has been stepped on by people dancing wildly, all over the place and in giant circular patterns. She has left the club many times with bruises, cuts and broken toenails because many people can't control themselves on the dance floor! It takes a very skilled and sober dancer to dance circular patterns in a crowded place and still dance safely.

You are confusing Cuban salsa with the way random non-Cuban Latino/a dances. Latinos from outside Cuba/PR will dance salsa the same way they dance cumbia - random triple-steps on random timing with no CBL. The only way Latina from Mexico through Argentina will follow anything related to Cuban style is if she made an effort to learn Cuban style.

[acpjr]

Latinos from outside Cuba/PR will dance salsa the same way they dance cumbia - random triple-steps on random timing with no CBL.

This is the impression I have gathered dancing here in LA. I like to dance with the older latina ladies - a majority of whom are Mexican - because I feel that they don't mind if it's kept simple. The trick is to keep precise timing yourself. Their triple-steps match your triple steps. If for some reason the two of you become out of sync (botched move, musical break, etc.), there is no "reset" button on these ladies, they'll keep triple-stepping away.

The only way Latina from Mexico through Argentina will follow anything related to Cuban style is if she made an effort to learn Cuban style.

I can usually get away with "enchufla" and "el uno" type variations. I have to be very careful about CBLs or DQNs because once she is in that "rock replace" mode it's difficult to switch gears. Beware the "natural top" because that doesn't exist in their world.


How important is it to you that you dance in the slot?

I'm thinking that slot style is the lesser of the two "evils." On a spacious or empty dance floor anything goes, slot, circular, performance, whatever. But to be practical on crowded dance floor, the slot gives you all the benefits mentioned in previous posts, and if executed tightly and smoothly will essentially transform into circular dancing anyway; dancing circularly in the same spot, granted there is an understanding of the two "poles" of that circle.

You can watch Milton Cobo teach such concepts at a congress: youtube.com/watch?v=83yN2IVNitI#t=3m08s

[sweavo]

If salsa were a written language, the slot would be its grammar: one could still understand a grammatically challenged person but it wouldn't be as much fun chatting with them.

The slot is like the grammar of a particular language. It's good for writing prose in that language. It helps deconstruct the language. But poetry (which IMO we should all be creating) is allowed to do what it pleases.

The language of slot also seems to have an English accent.

[MacMoto]

The slot is like the grammar of a particular language. It's good for writing prose in that language. It helps deconstruct the language. But poetry (which IMO we should all be creating) is allowed to do what it pleases.
Depends on whether you lead or follow. If you are a leader of a slotty language and deconstruct its grammar (slot), you are being a poet. If you are a follower and do the same, you are either foreign (Cuban style) or a "untrained and clueless". :roll:

[sweavo]

Depends on whether you lead or follow. If you are a leader of a slotty language and deconstruct its grammar (slot), you are being a poet. If you are a follower and do the same, you are either foreign (Cuban style) or a "untrained and clueless". :roll:

Awww!

This is an interesting subject to me, because I sometimes switch the slot on and off when I dance, or move it around. e.g. I might xbl her, then instead of a 180 I might position myself at 120 degrees and create a new slot. This is useful for manoeuvring to a clearer patch of floor, for example. Other times I might just drop in some sideways lateral motion in a closed hold. This can be a real test of a follower... if she's addicted to the slot then it can be hard for her to mentally adjust to what's happening, even though the physical aspects are dead simple. As an extreme example, sometimes I'll be doing only the basic step in a hand-hold position and someone else will join the floor. I'll move like 10 inches to my left and lead that same movement with my hands, and some followers will stay put, with their wrists at a really uncomfortable looking angle. And then usually get bumped by the couple I was trying to avoid!

Right now I generally regard the slot as something any individual dancer either has or has not. But I aspire to the place where it is something that you can apply or remove during a dance. I'm going to think on a bit about how the follower can be expected to tell what I'm intending.

[RugKutta]

Depends on whether you lead or follow. If you are a leader of a slotty language and deconstruct its grammar (slot), you are being a poet. If you are a follower and do the same, you are either foreign (Cuban style) or a "untrained and clueless". :roll:

Yeah, that does seem to be a bit of a double standard, although I am indeed guilty of thinking that way when I deal w/ a follower that won't stay on the slot. It does tend to happen alot more w/ latinas who only know their cuban style or triple step etc. I can make things work when dealing w/ them, but it can be aggrivating sometimes. I think that's where the "untrained" part comes in at. If you're "trained" to follow, you notice that the guy is not leading whatever style you're dancing and adjust to what he's leading you to do. For instance, if you normally dance in a slot but are dancing w/ a cuban/casino style lead, you wouldn't just keep doing a slot, and vice versa. Outside of just reverting to what you know due to habit every once in a while, you wouldn't just be like "ok, I'm just going to do what I want until my lead forces me to do otherwise." I'm sure most of those ladies don't conciously think that thought in their heads with an attitude or anything, but that's what it feels like to me until I catch myself and try to see things from their perspective. As I said, I can handle it and make it work, but it's a bit annoying to spend half the dance or more adjusting to a non-slot or making your partner stay on the slot, especially when the dancefloor is uber crowded.

[Salsalona]

i don't think anyone here has heard of the slot. it's just complete randomness on the dancefloor and it infuriates me as people are constantly bumping into each other and are all over the dance floor. You start dancing on one side and end up on the other by the time u've finished. I think everyone should respect the slot.

[Yupuhhuh]

i don't think anyone here has heard of the slot. it's just complete randomness on the dancefloor and it infuriates me as people are constantly bumping into each other and are all over the dance floor. You start dancing on one side and end up on the other by the time u've finished. I think everyone should respect the slot.

I respect space, the slot can die a slow painful new york death as far as I'm concerned. Peace out slot!

[sagitta]

Having a general understanding of Circular turn patterns will allows you to dance with people from all over the world and of all skill levels. On the other hand, it is less organized and takes more space than the linear styles.

I can take just as little space dancing circular style as slot style. How much space you take is a function of your proficiency as a dancer and not use of one or other style. And I can dance just as well with anyone from anywhere in the world and of all levels in either circular and slot styles. Again I think it is a matter of dancing skill rather than style.

[azzey]

Right now I generally regard the slot as something any individual dancer either has or has not. But I aspire to the place where it is something that you can apply or remove during a dance. I'm going to think on a bit about how the follower can be expected to tell what I'm intending.

It's called leading for a reason. That's like saying you can remove leading and following. If a girl follows well (regardless of style) I can lead her through Cuban, LA, NY, PR, Cumbia or whatever style. If she can only just follow a fixed style (one of the above) but is rigid about it, then the most I can do is move her around the floor in that style and mix in a bit of something else.

Cubanos may not have a concept of a slot but they certainly have a concept of a Dile Que No and it's just as clear a concept and requires leading and following.

[sweavo]

It's called leading for a reason. That's like saying you can remove leading and following. If a girl follows well (regardless of style) I can lead her through Cuban, LA, NY, PR, Cumbia or whatever style. If she can only just follow a fixed style (one of the above) but is rigid about it, then the most I can do is move her around the floor in that style and mix in a bit of something else.

I don't quite understand the bit I made bold, though I share the experience that you described in the rest of that quote. I guess what I'm driving at is that if I can isolate the exact elements that convey the intent, then I can emphasize those with the follows who are more rigid, and get a few more percent doing it the flexible way.

[bailar y tocar]

I can take just as little space dancing circular style as slot style. How much space you take is a function of your proficiency as a dancer and not use of one or other style. And I can dance just as well with anyone from anywhere in the world and of all levels in either circular and slot styles. Again I think it is a matter of dancing skill rather than style.

Agreed.

Add: if you are dancing behind a beginning "non-grounded" follower who is dancing the beginner version of slot style and she steps out her heel 1-2 feet behind the frame of her body the pain in your shins or calf is a direct measure of how much space they needed for slot style. In circular style one is equally likely to make contact with the body, arms as well as heels. From a risk perspective I prefer to dance next to beginner circular dancers than beginner "ungrounded" slot dancers and I consciously move away from beginner slot dancers as I have no way of controlling my space.

[azzey]

Sorry, that came off a little rough as I was in a rush.

I don't quite understand the bit I made bold, though I share the experience that you described in the rest of that quote.

I guess what I'm trying to say is in my view every part (each beat and followers step) of the CBL is lead, so you have always had total control of where the lady goes. It's just that we as leaders often get into habit of taking certain things for granted ; that the lady knows her part and so we don't need to lead parts of it anymore.

I guess what I'm driving at is that if I can isolate the exact elements that convey the intent, then I can emphasize those with the follows who are more rigid, and get a few more percent doing it the flexible way.

That's exactly it. In my view the secret (both in improving your cuban style and in this case getting more flexibility out of other followers) is in two elements of salsa dancing that are often taken for granted:

1) the pull-in on the 567 after the enchufe (or left turn), which can be used to reposition the follower for different styles and/or angles of CBL/Dile Que No.

2) The open-up between the 8-1, which can be used to create an angle where you had none previously.

If you can learn to lead those parts well and flexibly, along with the change of direction on the 3 of the CBL/DQN (required for CBL 180, 360 etc), you can take a girl anywhere of any style.

[el_Che]

i don't think anyone here has heard of the slot. it's just complete randomness on the dancefloor and it infuriates me as people are constantly bumping into each other and are all over the dance floor. You start dancing on one side and end up on the other by the time u've finished. I think everyone should respect the slot.

I think everyone should respect each others space, not slot.
There is no connection what so ever between the 2.
You can dance with huge steps but in a slot, or with tiny steps in a circle - it's your choice, not a choice of style.

How important is it to you that you dance in the slot? I know that many people in LA Style teach this frequently. Do you think the slot is mostly for crowded dance floors? Or is it an essential part of the dance regardless?

It is important only when dancing linear styles, such as LA and NY styles, although from my experience the slot is much less rigid in NY style.
What is a slot good for? Shows - in styles such as the LA style, you can keep facing the crowd almost 100% of the time while on stage.
Colombian Cali style is also very much in a slot.

But I think there is no need for slots in social dancing, as IMO the slot is limiting the dance, and making it too predictable.
When dancing in a circle you have to be "on guard" at all times - as a follower you must respond on a instinctive level, right away.
That makes the couple have a very good connection, paying 100% of their attention to each other and not people around them (well, maybe 98%, and 2% to the people around so you don't bump them :D ) .
When dancing in a circular manner you do know that if you keep dancing in that circle you are gonna be fine, but you never know where will the next lead come from or what will it be; there is no "prep swing" with the arms like you do before spinning the follower in linear styles, no back stepping, and no "preset moves" where you know that the follower "must" finish in exactly THAT spot in the slot, and not even 1/4 of an inch off...
A turn can come practically from anywhere in the circle, and you can finish anywhere (and you never get that frustrated "why are you not in the slot?! :mad: " look :) ).
I find dancing in a circle very much fun, and dancing in a slot quite limiting and unnecessary...