THE HAVANA HOW-D’YE-DO
Click here to download a Word document version of this page describing the Sets for the simplest Salsa Ceilidh or the Havana How-D'Ye-Do
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SIMPLE 8 BAR SEQUENCES THAT CAN BE REPEATED OR PUT IN ANY ORDER
As for Scottish Ceilidh dances, these Salsa Ceilidh patterns are not meant to be known or even learned by the participants. The organiser or Caller gets everyone on the floor and briefly explains and takes the dancers through the pattern before the music starts. Then - participating as in Cuban Rueda de Casino - the Caller "calls" reminders of what comes next - eg calling out the words in "quotes" below.
Those who "don't get it" in the brief introduction are kept in order by those that do. By the end of each dance they will have "got it" - ie they'll have got both the fun and the dance!
Obviously the Caller DOES need to be familiar with and to remember the patterns! So it is only prospective Callers who will want to read these details. Everyone else should step away from this totally off-putting page! Even Callers would learn how it works much more easily by coming to an actual event.
INDEX
SIDE FORWARD / BACK & THROUGH (SF/SBT) THE CHAIN (Ch)
WALK IN CIRCLE (WC) PROMENADE PROGRESSIVE (PP)
TRY BOTH (TB) PUSH CLOSE FORWARD / THROUGH (PCF/PCT)
SWINGING CIRCLE (SC) THE ROSE (R) PUSH SWING (PS)
CAMINAR (Cam) ENSHUFFLE (En)
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SIDE FORWARD / BACK & THROUGH (SF/SBT)
This is the best start to CCs; it ensures partners are in complementary step.
Start in circle of partners, close/open dance hold, hands into circle, Leads face acw.
1. (2 bars) “Sidey side” school dance as partners into the circle to his L, and back out to his R;
2. (2 bars) Repeat 1.;
SF 3. (4 bars) Lead walks “forwards” Followers “backwards” 12 steps (remember the “tap”)
No partner change; just begin again or > SBT. SF is more for simple practice with steps.
Or for later purposes, could add one or two under & thru “Taros” here.
SBT 3. (2 bars) Lead walks “backwards” Follower “forwards” 6 steps (remember “tap”)
4. (1 bar) Lead walks “forwards” Follower “back” 3 steps, disengage ready for
5. (1 bar) Lead forward under his L / her R arms, she forward or on spot, let go for next partner.
Variation at end depending on which HHDD follows. Eg to follow SBT with PP with its Gay Gordons starting position, Lead and Follower pass each other as in 5. but not by walking under arm but (4.) by passing Follower's R hand from Lead's L to R to give hand, position and time for (5.) Follower to walk into position for PP.
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WALK IN CIRCLE (WC)
From any HHDD > but variation may be needed eg: From SBT keeps hold of last partner (Lead’s L to her R) and meet new partner with free hand (Lead’s R to her L), so that everyone faces into a big circle holding hands.
1. (2 bars) All walk in together 3 steps-tap, back 3 steps-tap.
2. (2 bars) Repeat 1.
3. (1 bar) “Ladies/Followers in” Followers walk in 3 steps; Leads stay / walk back with small steps;
4. (1 bar) Then “Leads in” to walk forward 3 steps as Followers walk back;
5. (1 bar) Let go of partner on Lead’s L her R and repeat 3. leading her forward and L for:
6. (1 bar) (Choice of) “pass / swirl your partner” - Leads continue to lead by her R hand across him on her LRL steps to pass (or if enough space and skill) swirl acw towards next Lead and into his close hold or open hold or to full circle, or maybe not new partner, ready for whatever comes next.
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THE CHAIN (Ch)
Introduces passing both sides; chain is common, historical link (Tumba Francesa).
Variation may be required at end of previous HHDD to start by joining R to R hands and sides, eg let go (or pass her outside changing her R into your L) at end of SBT to free Follower’s R hand.
1. (1 bar) Shake hands R to R then 3 steps-tap to pass 1st new partner and meet 2nd new one to shake L hands letting go Rs;
2. (1 bar) 3 steps-tap to swing 2nd and meet 3rd shake R hands let go Ls;
3. (2 bars) Repeat 1. and 2. with 3rd and 4th partners, to take the 5th partner R arm to arm
4. (2 bars) Walk circling together like this 360º waving to the world with L hands and end by letting go to yet another partner - each Ch gets through 5 partners keeping the 6th
5. (2 bars) Lead moves to Follower’s L side to link R with her L arm to face the way she’s going, to keep and walk her round 180º to line of dance and adjust arms for whatever HHDD follows.
Variations at end: For PCT, PS, & En better to take both hands uncrossed. You wouldn’t do another Chain. If PP follows, then at 5. take crossed hands ready for Gay Gordon’s position.
Notes:
Pass in sharp zig zag – like a zip, not like on a pavement! Starting R to R (cf L to L) means Leads’ stronger lead of zig-zag passing each partner with outside feet dominant. Followers are more compact and demure stepping on inside leg.
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PROG(RESSIVE) PROM(ENADE) (PP)
Can also be the main pattern because ending varies nicely to lead into other sets.
Begins with familiar Gay Gordon’s start.
1. (4 bars) Promenade position and dance moves as for Gay Gordons but with CC steps.
2. (1 bar) 3 steps R hand to R to peel Follower cw round ready to take L to L new partner.
3. (1 bar) 3 steps to take R to R too, and Lead turns to get side-by-side and face her way;
4. (1 bar) Promenade with crossed hands still cw against the line of dance, hands in front but ready to:
5. (1 bar) Turn as a side-by-side couple to face usual line of dance raising R hands into shoulder position to begin PP again. This is the gentle stroll along Portobello Promenade!
Repeat same sequence (a la Gay Gordons) or another HHDD.
Notes:
Alternatives for ending section of PP:
3-5. (3 bars) Use crossed hands to birl (ie swing round) in tight acw 180º or 540º circles to end up as above in position for PP. This is a wilder birl along the Prom followed by PP, Ch or PS .
If next is Chain:
5. (1 bar) Swing or birl to end up in position to release and take Rs with new partner.
If next HHDD is PCT, PS, Enshuffle:
3-5. (3 bars) Change to uncrossed hands for or during swing or birl to keep bring this partner across to Rueda position.
Adapted ending for PP for when other HHDD patterns come next.
In the changes of direction, enjoy the lead signal (on 1st) and swing (on 3rd) steps:
3-4. (2 bars) As before, but link arms Lead’s R into Follower’s L for the promenading. Then:
If next HHDD is a circle:
5. (1 bar) Lead Follower sliding armhold to handhold into full circle with her on Lead’s R.
If next HHDD is SBT or Try Both:
5. (1 bar) Lead her round a bit more into close hold.
Adaptation also required for entering PP from many other HHDD.
In general, take R to R and go with natural turning direction into PP position over last 3 beats.
These are the Leads’ directions into PP from:
SBT or TB or PCT: Lead pass her R to your L as you pass last Follower on, in penultimate bar, to take new one L to L and lead her round into PP prom position.
WC or SC or R or PS: Keep (cf swing and lose) last Follower and her L to your R, taking other crossed hands too, lead round acw into PP position
Ch: End Ch as if it is the last 2 bars of PP with 6th partner of Ch.
PP: As per usual or after Birl
Cam: By last bar change to RtoR, Lead steps acw to her inside to PP position
En: No problem - both are in the right place to join hands for PP.
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TRY BOTH (TB)
Start as for SBT but open hold throughout.
1. (2 bars) Side shuffle as for SBT 1. but end opening out into big circle to offer and take near hand of next partner;
2. (1 bar) “Swap partners” let go of last partner, 3 side steps toward new one to face each other and take both hands open hold ready for:
3. (2 bars) Side shuffle with new partner into circle (to Lead’s R), and back again (his L) and repeat in reverse the end of 1. - open out to big circle offer and take hand of previous partner;
4. (1 bar) “Old partner” Reverse 2. - let go of second partner and school dance sideways to rejoin previous partner and face her/him both hands open hold:
5. (2 bars) Walk “backward” 3 steps and lead her to pass to his L. to another new partner, Lead on spot / forward / getting out of her way.
Variation at end depending on which HHDD follows. Eg to follow SBT with PP with its Gay Gordons starting position, in 5. Lead and Follower pass each other R to R walking forwards (not backwards) passing Follower's R hand from Lead's L to R to give hand, position and time for Follower to walk into position for PP.
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PUSH CLOSE FORWARD / THROUGH (PCF/PCT)
Intro to break step. Improvers will replace PCT with PS .
Best if dancers are able to keep stepping correctly in time for these last HHDDs.
Follows from most HHDDs with or without variation to start open circle partner to his L - eg just keep hold and face the partner you just swung:
1. (1 bar) 3 steps side shuffle towards each other to face to face each other (like TB 2.), taking her other hand with yours open hold as you do; tap of inside foot (beat 4) is both hands and face to face. But now;
2. (1 bar) Both partners push forward onto and off their inside feet (avoid toes by Lead outside hers) and inside hands (marking beat 5) holding on to outside hands but letting go of the pushing apart inside ones, to return to wide circle shape as at start of 1.;
3. (2 bars) Repeat 1.and 2.
4. (1 bar) Repeat 1. and prepare to close hold Lead facing in, Follower facing out, of circle.
5. (1 bar) 3 steps to complete close hold and Leads face acw line of dance.
PCF 6. (2 bars) As end of SF, Lead walks forward, she backwards, 6 steps. No change of partners.
PCT 6. (2 bars) As end of SBT, Lead steps forward under her R arm, each to new partner
Note:
Some top Cuban Rueda dancers use the sideways “shuffle” - or the similar small Guapea Grande of Chris Traynor's Absolute Salsa teaching - rather than the commoner “open break” L foot back step shape for their basic, Enchufe and other steps. So the “sideways shuffle” - and also the “tap-hold-then-push” - of Push in PCF/T and PS below, may be more authentic than many Rueda dancers might think! The open break allows faster steps to faster music, but come back to PCF/T if you can.
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The first six HHDD patterns lay the ground for the more standard Rueda de Casino moves
of the last five figures that follow here. Technically, above, the sets are based on triplets of steps that head in the same direction; below, they're based on triplets of steps that "break" the direction the triplet heads off in.
Click for Demo . . . About Nick . . . Aims . . . Music
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SWINGING CIRCLE (SC)
Uses the more familiar Mambo shaped step. SC is Manos > Dame Corta in Rueda.
Follows from any other HHDD, but best done once people have done PCT;
End any HHDD into big circle all holding hands.
1. (1 bar) On beat 1, Leads L foot forward and Followers R foot back, developing the push off break step feeling, as for PCT but now the whole circle is the partner you push in and off.
2. (1 bar) Same idea but Leads now back on R foot Followers forward on L;
3. (2 bars) Repeat 1. and 2. so Leads and Followers alternately go in and out of circle (cf WC).
4. (1 bar) Repeat 1. but let go of partner on Lead’s L to focus on partner on R hand.
5. (1 bar) “Swing your partner” swirling across, like WC or PCT but further to go, to full circle again all holding hands for a bit;
6. (2 bars) Repeat 4. and 5.
Repeats will make Followers dizzy. So mix and continue with another HHDD (?Chain).
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THE ROSE (R)
Introduces Rueda’s Rosa, but from from circle start.
Follows from any other HHDD but best done once people have done PCT.
Normal 0 0 1 74 427 Couple Counselling Lothian 3 1 524 11.1282 0 0 0 End any HHDD into big circle all holding hands.
1. (2 bars) As for SC steps, Leads in, Followers in, but then all “let go” while keep steps going.
2. (2 bars) As for 1. but Leads and then Followers clap once as they step in on beats 1 and 5.
3. (2 bars) As for 1. but Leads and then Followers right turn off their front L foot (beats 1 & 5).
4. (2 bars) Leads take hand of partner on their R and lead or swing them across to L and L hand.
Variations may be required at the end depending on what is going to follow..
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PUSH SWING (PS)
Guapea and Dame (Dame Una = Give me one) in PS. Develop into Rueda de Casino style.
1. (2 bars) “Guapea”: as in PCT, or (instead of sidey side as in TB) do a small Guapea Grande shape (a la Absolute Salsa / Chris Traynor's teaching - it follows best, and gives a better basic step for Cuban Salsa) or the more common Guapea shape in Cuban Rueda with its back break steps on beats 1 as well as the one on 5.
2. (2 bars) “Dame”: ie Leads leave partner to turn (L foot forward) into circle, momentarily like SC, heading to take next partner. Exactly like SC “swing your partners” by hands is ok. Or almost like it, with “her L hand up” partners take hold by shoulders; note that, counter-intuitively, held in closer shoulder hold while doing SC shape, the Lead and Follower break steps on both 1st and 5th beats, means they tend to stretch away from each other first (3 steps) before they “swing across” to Lead’s L side. Leads change hands and face new partner.
3. (4 bars) Repeat 1. Guapea and 2. Dame.
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CAMINAR (Cam)
Follows from any HHDD especially from PS. But also straight in from SBT or PCT.
1. (1 bar) First three steps of Guapea as in PCT or PS. (Or straight in from eg SBT or PCT to push next Follower as in “3.”)
2. (1 bar) Then pushing off steps of Guapea with Leads looking for next Follower without letting go of this one; but next Follower is ready not hanging back;
3. (1 bar) Leads push L foot and R hand, Followers push on R foot and L hand against and away with next partner in a mirror of Guapea, beginning to move the whole circle acw.
4. (2 bar) Repeat 2. and 3. accelerating the whole circle circling.
5. (2 bars) Repeat 2. and 3. but let go of last partner to take hand or shoulder of next as for Dame:
6. (1 bar) Complete the Dame as in PS .
Variations of last part for whatever HHDD follows.
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ENSHUFFLE (En)
Follows especially from PS or
PCT. Basically – Guapea, Enchufe twice.
1. (2 bars) “Guapea”: as in
PCT or PS
2. (1 bar) Side steps towards
as in TB or PCT but pass sideways by each other with Followers going under the
arch of joined hands.
3. (1 bar) Lead walks
sideways or forwards to the new partner to his R/her L; add Enchufle options
maybe.
4. (2 bars) Dame, like PS 2.
by hand or shoulder maybe.
5 (2 bars) Repeat 2. and 3. to new partner ready for whatever
next.
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ENSHUFFLE DOUBLE (EnD)
Follows on as for
Enshuffle, but watch out - it’s hard to go straight into the Enshuffle here.
1. (1 bar) Side steps towards as in TB or PCT but pass sideways by each other with Followers going under the arch of joined hands.
2. (1 bar) Lead sideways or walks forwards to the new partner to his R/her L.
3. (1 bars) Dame and Guapea, like in PCT or PS
4. (1 bar) As for 1. but shoulder stop her with R hand -
5. (1 bar) Send her side ways (and yourself) back again to previous postion under the arch
6. (2 bars) Repeat 1. and 2. to new partner ready for whatever next.
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CONGA
You can use a simple circle holding hands (as in Basics Circle below) as a good start for a Conga for a variation or maybe ending to the evening. From the circle all face same way and hold onto the person in front by hips or shoulders, then walk forward and add any pattern or movement of feet body voice or hands on the emphasised and tapped 4th beat.
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EVEN MORE BASIC BASIC STEPS
It is best to go straight into the partner dancing - ie Leads and Followers mirroring which foot they step on - but even doing the basic steps can be fun and made into a dance of it’s own. Here are suggested ways to prepare for the first and second half dances.
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BASICS CIRCLE (BC)
Introduces basic “3 steps tap” and steps needed for first HHDDs. Takes 3 minutes!
It is all in unison not in partners. So BC can’t link to any other HHDD -
(HHDDs are partner dances strictly designed to fit 8 bar patterns in the music). But:
Treat BC as the first proper Salsa Ceilidh dance, rather than as just teaching steps.
Start in circle, all facing in, holding hands, partners not necessary. Concentric circles if dance floor is small and/or there are large numbers of people.
1. (4 bars) “Side shuffle” or “school dance” pattern, all going 3 steps+tap L then 3 R, twice.
2. (2 bars) “Walk back” 3 steps (no break step) then 3 steps+tap “walk forward”.
3. (2 bars) “Walk forward” 3 steps+tap, 3 “walk back”. (Keep reminding of “tap” throughout.)
Repeat this to end of music. If too easy / bored - stop music to - add in variations: 4. (4 bars) Repeat 1 with travelling diagonal face, ie L foot back a bit to cross over; then other way. “Red carpet not so narrow” “without more/faster steps you want somewhere quicker”.
5. (4 bars) “Facing along narrow / crowded red carpet”, think of 1. or 2/3., but with very small steps, ie on the spot or on an island - remembering the tap too every 4th beat. On the spot is useful practice at home and when you're lost in SC!