This term refers simply to the various popular styles of partner dancing done to salsa music. Within the style of dance known as Salsa there exists a multitude of variations particular to countries, regions, rhythmic preferences, counting methods and a whole host of techniques, developing constantly. As such, it is complex to define and yet unmistakable once you’ve understood it.

Styles defined by their country or city of origin include: L.A Style, New York Style, Cuban Style, Puerto Rican style, Casino and Columbian Style.

Styles defined by their preference in rhythm include: On 1 and On 2

As many styles do not belong exclusively to one country or rhythm specifically, It has become quite complex and confusing to define styles, and therefore in 2002, we decided to define all the styles in terms of the construction of their basic shape. What this does, is allow the student to understand what they fundamentally want to know which is - Do I have to learn all the styles? Who can I dance with successfully and why can I not lead or follow styles different from my own?

Styles defined by Structure: - Circular and Linear
Circular Styles – Cuban, Columbian, Casino, some On 1 styles and Son
Linear Styles (aka ‘In the Slot’) - L.A Style (aka On 1), New York Style (aka On 2), Classic Mambo, Millenium Style.

Circular Styles tend to interrelate well, as long as the partners are happy to compromise just a little. Similarly Linear Styles also tend to interrelate well, as long as the partners are competent switching from one rhythm to the next.

Although there will be a fair number of subtleties and nuances that differ, basically it is the structure and rhythm of the style which enable a dancer to dance successfully with one of another style.

The basic step revolves around the same rhythmic pattern as On1 - 1,2,3 …5,6,7 - pausing on the 4th and 8th beats. What makes it different is the point within the standard footwork pattern at which you enter the bar of music.
Beats 2 and 6 represent the farthest movement forward or back (aka the breaking step). I like to think of it as 'the braking step' because these steps are like applying the brakes in one direction to propel you in the reverse direction.

Because of your location in the progression of the pattern during the pause, it is uncomfortable to stop and start and so this encourages the dancer’s body to flow through to the next step. This has caused the counts to develop to sound as if there is syncopation, drawing out the 1 and 5 at both ends. This syncopation simply denotes the body’s movement through the centre, but not necessarily the point at which the foot hits the floor. I know that’s confusing; it’s better to have this clarified in person as writing the explanation could easily do my brain and yours some serious damage!

Something particular to this style is that the leader commences with a backward motion. This has a very musically profound reason once explained beautifully to me by Mr. Frankie Martinez on New York, this too is challenging to describe in writing, so come to class and I’ll show you!

See the FAQ's On2 for more info

There is a subtle difference between the terms Salsa and Mambo.
Mambo is a form of Salsa, but Salsa doesn’t generally get called Mambo ….???? WHAT!!?

There is Traditional Mambo, and then there is Salsa ‘On2’ which is known as Mambo or Modern Mambo or Eddie Torres Mambo! Traditional mambo is now rarely seen as it has been thoroughly usurped by the new and more rhythmically developed ‘On2’, developed and popularized only recently (in the last 15 to 20 years or so) in New York by the enigmatic and passionate master of the dance, Mr. Eddie Torres.
These days if someone says they dance Mambo they're probably referring to Salsa ‘On 2’. If however you dance one style, and your partner dances the other, with a little compromise you will manage to get through the dance adequately, as long as the figures danced are relatively standard.
If you’re a salsa dancer these days, the more competent ones can usually dance both On 1 and On 2. The difference is not that complicated, but it seems easier for an On 2 dancer to convert to On 1than for an On 1 dancer to convert to On 2. For this reason at AusLatin we teach the On2 style of Salsa to start off with. Later, we introduce you to Salsa On1 and by the time you've been dancing our Salsa Level 3 for a while, you should be prety comfortable with both.

1. What is dancing "On2"?
The music we dance to is counted in 2 four beat measures (4/4 time). A "break step" is the step that you change the direction of your momentum. When your break step falls on the second and sixth beat of the music, then you are dancing "On2". We use the wording "On2" when describing the Puerto Rican and New York Style salsa.

2. Where can I dance "On2"?
The largest concentration of "On2" dancers is in New York and Puerto Rico, but in the last few years it has become quite prevalent all over the world including here in Australia. Clubs are not separated into On1 and On2 venues - but dancers of both styles will frequent most clubs. As it is still relatively new in Sydny compared with On1, consult your instructor as the the best current choice of venue. Several schools specialize in this style, but will also offer On 1. It’s a good idea to become relatively proficient at both; that way you double the possibilities for dance partners. At AusLatin we start you off On2 later progressing seamlessly to On1 in our level 3, thus creating bi-dancual Salsa dancers!

3. To what music do you dance "On2"?
The majority of the salsa music that is played in clubs can be easily danced "On2". Be it Marc Anthony, Sonora Carruseles, or Tito Puente, if you can dance to it "On1", then you can dance to it "On2". The difference is quite subtle unless you are very in tune with music, in which case you will find it feels distinctly different.

4. Shouldn't I learn to dance "On1" first?
On the contrary, we have found that precisely the reverse works far better in practice. Learning to dance Salsa On 2 is like learning to drive a manual - it guarantees you far better understanding and control of the vehicle. Learning Salsa On1 after you've already mastered Salsa On 2 is like jumping into an automatic after driving a manual. There'll be a few habits you'll have to eliminate, but overall the transition is fairly simple. The reverse scenario is a bit more challenging to say the least!

Your goal should be to able to dance with just about anyone that you meet anywhere in the world, so we recommend you start with "On2" and progress to On1, because it is then much easier to adjust your timing that way and you will easily master 2 styles comfortably.

5. I am quite proficient "On1", what level class should I take?
We recommend that you take the beginner level 1 class anyway,even though you may not consider yourself a beginner. You will need to give yourself time to become accustomed to the new rhythmic pattern. If you get a bit frustrated though, you can always do the conversion as private lessons to fast track your progress. Don't underestimate the un-learning and re-learning process though, it can give you quite a surprise - allow yourself the luxary of time. We recommend you do level 1 and just relax and enjoy it - trust and allow yourself to pick up the material - You will.

- Both styles are linear in structure
- Both styles are progressive in today’s salsa world and are well respected.
- Both styles can be danced to the same music. Some dancers say they feel certain songs lend themselves better to one or the other – this dancer just feels that it depends on how you listen to the music. Once I found it, I started to feel On 2 in just about every piece of music I heard – even non-salsa!
- The more advanced turn patterns can feel a little different between the 2 styles but overall the fundamentals are the same.

- Any turn pattern learned/developed in one style is entirely transferable to the other.
The patterns will feel different because of the location of the pause and the apparent syncopation of the On2 rhythm, but it’s relatively simple to transpose, and the pattern will take on a fresh new feel in the new style.

- Because of the location of the pause and the apparent syncopation of the On2 rhythm, the On2 dancer appears more relaxed, and seems to have a more elastic space to play, style and connect with their partner.

- Because of the exaggerated 1 and 5 breaking steps coinciding with the more easily recognized 1 and 5 in the music, the On 1 style is a good choice for ‘wowing’ the audience as they will visually recognize the timing easily.

Although On 1 is well recognized as the ‘Show dance’, ‘On2’ can be just as impressive, but uses different dynamics to do so including more intricate use of rhythm, off beats, highs and lows, speed and slowness etc. It is well known as the Elegant Salsa and is extremely social. It is well regarded amongst aficionados to be the dance which allows true musicality.

There’s nothing saying you have to learn both, but it will certainly increase your options for partners!

At AusLatin we recommend learning On2 first. It is much simpler to transpose from On 2 to On 1 than the other way around. This is why we teach Salsa On 2 in our lower level classes, progressing later to add On1 into your repertoire

Shines were originally created out of Mambo (Salsa On2) but can be adapted to resolve back into the Salsa On 1 style. They are independent footwork patterns done by either dancer, either completely apart or sometimes within the partnership. They include a significant amount of body motion and have been developed out of the Afro Cuban and Puerto Rican folkloric dances and strangely enough, modern jazz, funk and hip hop moves! The trick is to get them to come cleanly out of the basic and return to it without shuffling and missing a beat. There are standard shines that you can learn, but you can also learn to make your own. In the end, when you're on the spot, you will pull out what ever you’re most comfortable with when you need it anyway – it may as well be your own creation!

At AusLatin, we believe that shines are essential. They allow an alternative form of expression to your conventional couple work in Salsa. It allows creativity and expression for each dancer within the partnership and allows a certain amount of freedom whilst encouraging a mutual respect and admiration between the partners when the proper etiquette is observed. ‘Shines’ comprise a vital part of your repertoire, and is essential to becoming accomplished and exciting salsa or Mambo dancer!
At AusLatin, simple shines can be learned in our Mambo Shines classes. We start with very simple moves in level 1, and progress to more complex ones in level 2. You will even learn how to stick them together in your own preferred sequence.The classes are suitable for both men & women.

This is a circular style of Salsa, but the rules as to which beat to commence on vary from dancer to dancer. As long as it’s a down beat, 1, 3, 5, or 7 it doesn’t appear to matter terribly much. In fact the leader frequently changes during the course of the music from one beat to another based on his interpretation of what he’s hearing. That means that the follower needs to perfect a bit of a shuffle while watching her partner’s feet so she’s on the correct foot when he collects her. Pretty much, girls are expected to primarily follow and be ready for any number of twisting and turning combinations at any time that resemble a mass of spagetti which magically appears to unravel itself.

The thing with Cuban salsa that is so attractive is its organic earthiness, strong rhythmic connection and the ‘sabor’ all of which come from its strong connection to Cuban Rumba. It definitely strikes a chord somewhere in the lower belly that makes it quite hypnotic and irresistible. Conversely however, the thing which is so frustrating about it, is its apparent lack of perceivable structure. I have danced all over the world and I am yet to come across 2 Cuban dancers/instructors who say the same thing as one another. The synchronicity so vital to most other partner dances seems to be a relatively hit and miss event in Cuban Salsa. There also appears to be some disdain amongst the finest Cuban Salsa instructors for the structure created to teach other styles. The general opinion seems to be that structure diminishes the ‘flavour’ of the dance.

At AusLatin we certainly do use a structure in order to have a means or common language base, in which to share our information with students. This however is not to the exclusion of the natural flavour and enjoyment of the music, but only as a tool for learning.