The Baile de Casino (Salsa cuban style) has a unique distinctiveness. It is closely linked to the Cuban dances that originated before it, each contributing in some way. Learning these dances individually allows one to improve one’s skills in a way that is also directly reflected in a technical improvement in Salsa itself. Not all of these dances, however, influence Salsa equally – some are definitely more relevant than others. One, in particular, is very significant as it serves as the “foundation” for almost all the others, which is why it deserves a closer look. It is the family of Afro-Cuban dances.
Afro-Cuban Dances in the Context of Dance
Afro-Cuban dances are those of African origin that arrived in Cuba via the slave trade. Typically, when referring to Afro-Cuban dances, people mean a subset known as the dances of the Orishas1 . The Orishas are semi-gods of the Yoruba religion, which was practiced by the people of Nigeria during the time of the slave trade. Their dances, therefore, held religious meanings. Essentially, they consisted of songs and dances that represent metaphors for life and are addressed to the various Orishas – hence the name Santeria – from the Spanish word “Santo,” meaning “saint”, which refers to the study of Yoruba deities.
From a historical perspective, enslaved people were forced to abandon their religion and convert to Catholicism. However, they continued to secretly profess their deities by masking them as Catholic saints – a phenomenon known as syncretism. Through this practice, they kept their dances, religion, and culture alive across generations.
This phenomenon persisted until the end of the slave trade, which is dated between 1880 and 1890 (with 1886 considered the official end of slavery). From that moment on, former slaves – in any case not fully accepted by society – spent their free time celebrating in their own way. practicing a music and dance born precisely out of a need for entertainment with minimal resources: the Cuban Rumba.
Other cultural influences and dance evolution
Until that time, the Cuban population was predominantly of Spanish and European descent in general. Travel companies organized music and dance events to entertain passengers on long ship voyages from Europe to Cuba. Once in in the island, they would continue to spread these musics and dances locally as well. Over time, however, whites and blacks began to integrate and so also to dance to the same music. This is evident in the Son, which was also danced by blacks who incorporated their body movement techniques into its musicality.
It was only after this social integration that Cuban dance academies recognized religious dances (“Afro” dances) as an intangible cultural heritage and as belonging to the Cuban folklore. In doing so, they adopted the modern Cuban dance techniques into the original movements, without altering their essence or meaning but detaching them from their religious roots. As a result, these dances (now “Afro-Cuban”) have become an integral part of dance study. For this reason, everyone agrees that Cuban Salsa has two roots – one African and one European.
Society’s influence on dances
The world of dance is constantly changing, reflecting the transformations of society. When a dance spreads to places other than its place of origin, it loses its original meaning and takes on a new one. For example, the way Salsa is danced in Europe is different than in Cuba, the United States or Asia.
Sometimes, particularly talented dancers/influencer create their own style, which becomes popular and independent from its original form. This is the case with New York Style Salsa (Salsa NY Style) and Los Angeles Style Salsa (Salsa LA Style).
A relevant and interesting example is Bachata. Originally from the Dominican Republic, Bachata has become widely popular in the Western world in the shape of Sensual Bachata. This dance style, born in Spain, has lost almost all of its original elements, radically changing the way it is danced. This transformation occurred because our modern society promotes models and behaviors with a high aesthetic impact and Bachata Sensual aligns with this trend. As much as I am definitely not a fan of Sensual Bachata, it is undeniable that its worldwide success is due precisely to the theatricality and femininity of the movements, the predominantly female-centered role, and the presence of young, good-looking people – all things that “work” in this historical period and in this Western world. It is no coincidence, by the way, that a similar principle is what attracts those who dance Salsa NY and LA Style and in fact most instructors practice and teach both styles; something not often seen in those who teach Cuban Salsa. Where these values do not somehow belong in society, Sensual Bachata has no hope of spreading in these places.
Another interesting case is Reggaeton, which originated in Puerto Rico. In Puerto Rico (and much of South America), Reggaeton dance simulates sexual intercourse on the dance floor. In Europe, however, Reggaeton is primarily a musical genre popular among young people, while the dance aspect is more spontaneous, with some suggestive movements often borrowed from TikTok trends to attract attention. This version is far from the original South American style, which is still considered too vulgar by European standards.
Salsa also undergoes social and cultural influences, which is why the way it is danced in Europe differs significantly from how it is danced in Cuba. Most non-classical figures originated elsewhere – initially in the United States, then in Europe – and many were created or adapted from other Salsa styles or American dances. In Cuba, Salsa was never a dance composed of numerous figures. In Europe, however, Salsa is primarily danced through complex sequences of figures. This approach makes it more accessible to those who, unlike Cubans, did not grow up with the music and movement “in their blood”.
Are Afro-Cuban dances, then, really necessary?
This long (and hopefully not boring) explanation tells us that learning the roots of Salsa is not necessary to dance it as it is commonly practiced in Europe. In fact, the vast majority of dancers have never taken a single lesson in Afro-Cuban dances – provided one accepts the limitations that this entails.
However, just because it is not necessary does not mean it is useless. While Cuban Salsa has adapted to the European context, its Cuban roots and influences remain. So yes, it makes sense to learn more about Salsa technique by studying it in its original form, as it is taught in Cuba, and beginning with Afro-Cuban dances can be highly beneficial.
Ideally, the most effective learning path follows the chronological order of these dances. The study of Afro-Cuban dances allows one to acquire a number of fundamental techniques that significantly improve his/her overall dance skills. The point is that the techniques of Afro-Cuban dances – starting with posture – form the foundation for anyone who wants to dance Salsa seriously.
Conclusion
Today, Salsa dancing is highly commercialized and attracts people with various motivations. The dance technique used in Europe is generally much simpler than its original form in Cuba. Ideally, to learn Cuban Salsa really as it is danced in Cuba, one must follow a similar training path to that of Cuban dancers.
This is however not the only “right” approach to dance – it is first important to understand what one’s goals and availabilities are.
Not everyone is attracted to dance solely for socializing and having fun. Many dancers genuinely want to deepen their knowledge of dance, yet they struggle to navigate a landscape with limited educational offerings. Dance schools, after all, need a minimum number of students to survive, so they favor commercially profitable courses over more specialized ones, which instead are often offered out of passion rather than for profit. Advanced courses in many dance schools tend to focus on increasingly complex figures, acrobatics movements and choreographies, as this approach is both commercially successful and, in some cases, the only one certain instructors know.
The alternative I encourage to explore is to deepen one’s understanding of Salsa by remaining adherent to the one shaped by the social tissue that originated it. This approach enhances movements with meaning, passion, and energy – qualities that no choreography can ever give.
Whatever your passion, always keep your goals clear. What I can advice is not to look at “what to do in order to…” but instead to look at the dancer you will become when you achieve your goals – perhaps with some sacrifice.
I am sure you will be happy with the effort you have made.
1. The other Afro-Cuban dances are the Palo, Ararà and Abakua dances, which belong to other ethnic groups but are not the subject of this article.