In the last 2 blog posts in this series I discussed the initial stages most groups will go through before they can hope to influence the way Cuban salsa is danced and performed internationally. The final category of Cuban salsa groups not only produces new moves but also helps to invent and shape the dance form itself by adding new elements and aspects into the dance that enhances the overall structure of Cuban salsa such that new moves are possible subsequently.
This may be a small change that affects parts of a move but can subsequently be used in more complicated moves to make the dance form look and feel slightly different while being able to merge this with more traditional structures. I.e a good example is the change from Coca Cola to Coca Cola Al Reves which involves a slightly different way in leading and following the move while the steps start in a similar way to Coca Cola but then become fundamentally different at the end of the move. This new element has been so readily accepted that it can now be seen as part of many complex moves taught by different dance schools internationally without anyone questioning the authenticity of Coca Cola Al Reves.
Some changes are so fundamental that they do not just affect certain aspects of the move but the entire structure of how Cuban salsa can be danced. I.e. moves such as Confusion or Espejo add a new component to Cuban salsa as a whole that allows any move to be executed in a different manner and Rueda formations such as Rueda Al Linear or Rueda Pa’ Fuera change the way the dance looks and feels when dancing as a group of people.
This level is nearly impossible to achieve without years of practice and studying every aspect of the dance in detail as any structural change made to the dance itself has to fit in with all the traditional moves and any move that has become accepted as part of Cuban salsa. It should be possible to lead and follow new elements by giving distinct signals that are unambiguous with any signal used for different moves and it should be intuitive enough that a good follower can pick up the lead easily while social dancing without having been trained excessively in the new element.
Unsurprisingly, the vast majority of elementary and structural changes have come out of Cuba where the popularity of this dance allows Rueda groups and couples to compete against each other searching constantly for new ways that the dance can be transformed to impress the judges and spectators while staying within the framework of Cuban salsa. However, a few schools have made it to this level internationally so the dance has become a true global product that is not only danced in different countries but is actually evolving around the world.
