What is this move? What is this kind of salsa?

Daybert is controversial on here at times, but in this article he is on point.
I always think the salsa (linear and casino) scene in the UK at least has what I call a Pokémon mentality. People want to collect all the moves, even down to collecting experiences i.e attending congresses etc. The focus becomes the collecting. The 'advanced' dancers are the ones with the most moves, who go to the most congresses, socials etc.
This doesn't make people better dancers, in many cases I think it makes people worse.

I'm surprised he didn't specifically call out the Miami style schools as he typically does (but always from an authenticity perspective). When you get into advanced + and you're learning non-intuitive 32 count moves that you're never going to use on the dance floor much less a social rueda that's kind of grifty. Or when they cram multiple complicated moves into a 1 hour class and there's just no way to retain all of that.

Then there is the whole "you never stop learning" ethos, therefore you must perpetually attend workshops for son/danzon/afro/rumba/musicality/panel discussions/lectures etc etc

Of course when he's the one teaching it's not grifting, right?
 
I see they do a lot of things where the lady rocks back on her right foot and change of sides and then rocks back on her left foot, and then turns 90° and rocks back on her right foot. So it’s not so linear like LA salsa. I’m just trying to figure out the names of the moves and what the style is and I love this couple of course

I know maybe the simple answer is salsa Cubano. But I would just love to learn a little bit more.

The move is sometimes called El uno in rueda. Older cuban women seem at least when I lead it, to think it is going to be pasea de Olas. And it doesn't work as intended.
It's also in my 1st teacher's cumbia-ish salsa style. Not sure what she called it.
 
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In Europe they just call it Salsa Cubano. I suspect Casino as a term is widely used in the USA.

That clip in the OP looked to me like a casino/cubano dancer fusing salsa and casino patterns.
I didn't see much cuban lol. Maybe the 3 o'clock turn, which linear dancers inexplicably fight against.
 
Fittingly sonycasino's latest article mentions Wilmer y María https://sonycasino.com/2026/04/16/the-cuban-dance-scene-has-a-grifter-problem/ (I disagree with his assessment that the moves from their demo linked in that article aren't leadable socially.)
He grates on me because he postures like because he is cuban that he is an expert, but also staed that he didn't learn.any partner dancing until he was in post secondary in the USA. Don't get me wrong, I like his dancing (though a bit sterile for my personality). He is a hell of a lot smoother than me.
 
Daybert is controversial on here at times, but in this article he is on point.
I always think the salsa (linear and casino) scene in the UK at least has what I call a Pokémon mentality. People want to collect all the moves, even down to collecting experiences i.e attending congresses etc. The focus becomes the collecting. The 'advanced' dancers are the ones with the most moves, who go to the most congresses, socials etc.
This doesn't make people better dancers, in many cases I think it makes people worse.
Word. I've seen it happen to previously nice people in my city.
 
The first part of the Wilmer&Maria video is very leadable, but I think the article refers to artistry like the ones at 2:33 or 3:00 - this is not for social dance for sure. She acts on her own, she has learned by heart what to do, this is not leadable. The same is well-known with some bachata couples (e.g. Melvin&Gatica). One could say "If lead raises his left little finger then follow is expected to do a backflip", but I wouldn't call this lead & follow, this is choreo and not for the social floor. I understand the writer is uncomfortable with this development.

But honestly how could it be different? Pro dancers must live from dancing, so they must teach (even if they are didactically bad), and most students are beginners & improvers, you see that in every dance school: the pyramid gets thinner to the top. And beginners get impressed by artistry, not by good grounded stepping (which they don't see). The million clicks in social media do not even come from dancers. This is about economy.

Unfortunately the writer also plays the authenticity card in the third paragraph. I understand this is a valuable thing, but in general the world does never maintain that. We don't eat kebab like they do in Turkey, we don't eat pizza like they do in Naples because we adapt it to our other needs, and our local, personal needs always top over what some 10.000 km away people think of it. If you export your thing to the world it gets changed. One can regret that, and there are always people who are interested in the original thing and maintain it, but most start dancing with other reasons than to maintain a culture they have never been to.
Just so long as you don't teach fake history, which is a valid gripe. And I have seen or heard things taught that go directly opposite to one of my teachers who is in a folkloric troupe (she toured us with her group pre pandemic) as well as at the national academy (children) in Havana.
So I get some of the authenticity gripe.
 
I'm surprised he didn't specifically call out the Miami style schools as he typically does (but always from an authenticity perspective). When you get into advanced + and you're learning non-intuitive 32 count moves that you're never going to use on the dance floor much less a social rueda that's kind of grifty. Or when they cram multiple complicated moves into a 1 hour class and there's just no way to retain all of that.

Then there is the whole "you never stop learning" ethos, therefore you must perpetually attend workshops for son/danzon/afro/rumba/musicality/panel discussions/lectures etc etc

Of course when he's the one teaching it's not grifting, right?
We'll fight over Abajo/Paseala en frente, but brothers in arms on this one.
 
I didn't see much cuban lol. Maybe the 3 o'clock turn, which linear dancers inexplicably fight against.
Yes unfortunately that's my experience too. I really wanted to try it and it just didn't seem to work mostly
 
Yes unfortunately that's my experience too. I really wanted to try it and it just didn't seem to work mostly
It works with anyone who dances bachatenot the younger crowd, but my belief is that it isn't a CLASSIC casino move. Juat like newer or slightly younger dancers, if I try to lead pasea de Olas, it goes tits up.
 
Yes unfortunately that's my experience too. I really wanted to try it and it just didn't seem to work mostly

The follow is doing lots of standard casino stuff, DQN, exhibela, enchufla...the outside turn OTOH would be considered less than authentic.

As for your original question on the style I would call it "Casino Sensual". And Wilmer is the man if you're into that. They're actually somewhat restrained 1st half of the dance, then it goes off the rails.
 
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