Musicality in on2 dancing

Sal Sero said:
Okay bro. Looked pretty on1 to me. I think we're all just being a little too "sophisticated". It's like scientists taking 3 pages to explain that walking through the park relaxes people.
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If you consider it overly sophisticated to distinguish between two distinct styles of dancing, then yes.
 
Sal Sero said:
At 0:41 he initiates a crossbody on 6, at 0:42 he reaches for her stomach to finish the crossbody on 2 but then decides to pull his hand back because he can hear the brass building up, he steps away on 3, preps for his spin on4, and on 5 he executes a triple spin that ends on the following 1. He then stands in place for 4 bars to "reset" before resuming on2 basic at 0:51.

That's not considered switching timing? And don't take this as an argument I'm genuinely curious.
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I dont know what you are talking about. In that section, his last lead on 42sec is on2. Then he breaks away from the partner to interpret the break in music, then keep leading on2. Its not switching to another timing, its just reflecting an instrument in the song. If you want, you can break away, stop stepping, clap on 1-3-5-7 with cow bell, or shake you bum to sides on 1 and 5, or a body roll with horn whatever. This is not switching your timing.
One more thing, timing matters only on partnerwork because you have to speak the same language with your partner. When you do your solo work, you can step on any timing.

If you are interested in watching a video of terry where he switched his timing, look at his dance with Luz Rodriguez.
 
Smejmoon said:
Guys, when you write about shining on1 or on2, what it has to do with musicality?
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Great question.

For me, musicality has to do with expressing the different parts of the structure of a song. There are some parts to a song that, to me, seem most appropriate for shines. While doing shines you are, individually, deciding how to express the music. You may be doing a basic step, or some shine pattern you've learned (i.e. suzy Q), or just something you've made up. The shines are all about musicality. It doesn't matter if your are dancing on1 or on2. It just you and the music and what you do with it.

When dancing in closed position there are some patterns I choose to lead also to express the music. The easiest example would be to start with a basic step, move to a cross body lead (maybe twice) then to a cross body lead with a turn. I would usually do this as I hear the music building in intensity.

These aren't just random choices. My partner is also making choices about how she is going to dance my lead. When we are both hearing the music the same way . . . well . . . heaven! It just works for both of us. You know at the end of the song when it has been good for both of you because it will have all seemed effortless and you are both full of smiles.
 
I think it's hilarious how some dancers will "never dance on1". Snob attitude much?

If you're a truly good dancer, especially a professional like Terry, you should be able to dance on1, on2, even Casino with ease. The best dancers are the ones who explore different styles and cross-train.

I'm willing to bet Terry has danced on1 at least more than once, and if dancing with an on1 follow would adjust, otherwise I'd be changing my opinion on his actual dance vocabulary, which does seem extensive.
 
One reason why Oliver is so highly regarded is that he dances multiple latin styles and can dance to different timings at the drop of a hat.
 
Salsa Student said:
If you consider it overly sophisticated to distinguish between two distinct styles of dancing, then yes.
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It's possible that he switched "timing" to match the music - i.e. the music had a clave change. I think that's all we need to explain and move on hey?
 
The beautiful thing about shines is that you can do them to any count. There are no "rules" to be honest - you can do them to on1, on2, or on3, even if partner dancing to on2.
 
calichris10 said:
But he teaches on1 occasionally right? Or was that sarcasm:)
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Terry dances on1, on2 and Cuban. He also teaches salsa porto and salsa cubaine. I mean, seriously, why would one think that salsa in France is the same as salsa in UK, Dominican Republic, Thailand, Kazakhstan or South Africa?

Sometimes on the forums we argue using our tiny slices of salsa world, no wonder they are different. Salsa in Kaunas is different than salsa in Vilnius. What it has to do with musicality in on2 dancing? On2 is convention, social norm, habit, fashion. Musicality is in the music. Open your ears people!
Peace out! ✌
 
Smejmoon said:
Terry dances on1, on2 and Cuban. He also teaches salsa porto and salsa cubaine. I mean, seriously, why would one think that salsa in France is the same as salsa in UK, Dominican Republic, Thailand, Kazakhstan or South Africa?

Sometimes on the forums we argue using our tiny slices of salsa world, no wonder they are different. Salsa in Kaunas is different than salsa in Vilnius. What it has to do with musicality in on2 dancing? On2 is convention, social norm, habit, fashion. Musicality is in the music. Open your ears people!
Peace out! ✌
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I know that! I was responding to another poster, didnt know if his comment was serious or sarcastic!
 
One of the things that helped me most when I was first learning on2 (from an on1 background) was that someone told me to count "1-2-AND" instead of "1-2-3". I was able to grasp it almost immediately, when on2 had been a struggle up until that point!
 
Jag75 said:
I think it's hilarious how some dancers will "never dance on1". Snob attitude much?

If you're a truly good dancer, especially a professional like Terry, you should be able to dance on1, on2, even Casino with ease. The best dancers are the ones who explore different styles and cross-train.

I'm willing to bet Terry has danced on1 at least more than once, and if dancing with an on1 follow would adjust, otherwise I'd be changing my opinion on his actual dance vocabulary, which does seem extensive.
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I just got done taking a workshop with Terry I'm Dallas before BIG salsa festival and he is phenomenal on 1 and on2.

Social dancing wise he seemed to default to on 2 but before the workshop started, to my horror, he asked if the class preferred on 2 or on 1 and they all shouted on 1. I prefer on 2 but he was so flawless on 1 and didn't mess up once with the most advance pattern I've seen made it fun.
 
To express yourself on2 means you need to train your ear and change how you hear the music. Once you can hear the music in this different way you will be able to express it through your body. In On 1 you focus on the downbeat, in On2, the upbeat. So what worked for me when I first started is I listened to salsa non stop, counting the beats in my head, hearing the differences in the music between on 1 and 2 and where I would hit the beats, how I would style it, etc. Social dancing with good on2 leads helped, as with watching other followers. Now it's just natural.
 
vixen_en_vinilo said:
One of the things that helped me most when I was first learning on2 (from an on1 background) was that someone told me to count "1-2-AND" instead of "1-2-3". I was able to grasp it almost immediately, when on2 had been a struggle up until that point!
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Another way is to count "2-3, 6-7", which I prefer. Using "and" confuses me because I tend to use it to describe syncopation (as in "2-and-3").

One of the things that helped me when I was learning on2 was to learn to cha cha. Once I got the hang of "2-3-cha-cha-cha 6-7-cha-cha-cha", dropping the syncopated steps to get to on2 was easy.
 
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