Cubans: please come back to teaching us the root of Salsa

Most people who start dancing do so to socialize and have fun. That’s why dances like Salsa and Bachata are so popular. Dancing brings intrinsic joy from moving in harmony with the music and connecting with another person.

However, the more I dance the more I feel like we are missing something: the roots.

We dance for fun…

My opinion on this is that people either want to be entertained or taught. Those who sign up for dance classes usually want to learn to dance, sure, but mostly they want to do so in a pleasant, fun atmosphere. Only later, after a few years, some seriously motivated students emerge, willing to dive deeper and study. All the rest, including many who will eventually become teachers, simply focus on mastering the moves and steps.

But dancing isn’t just about “doing moves” and learning some footwork.

We, who didn’t grow up in South America or Cuba, didn’t grow up listening to Salsa or Bachata, nor do we speak Spanish, so we don’t understand the music or the lyrics. Basically, we know little about these musical genres. Over time, we learn to recognize a few elements to dance, and that’s enough for us. Only those who pursue an academic path learn to know (and often play) the instruments themselves, especially the congas and the clave.

This journey is essential for understanding a fundamental idea: what differentiates Cuban style from all others is precisely the cadence with which the music is expressed. That’s why my teacher stressed this point and kept repeating:

“To dance Salsa as we Cubans do, you must learn to listen to our music as we Cubans do.” (Esmil Diaz)

In other words, the body moves to the rhythm as we perceive it. Without an understanding of Cuban music, the dance style will look visibly “European” and less “Cuban.” There’s nothing wrong with this, but don’t jump to conclusions; there’s more to it.

Years ago, that’s exactly what all of us wanted: we admired teachers for their Cuban style, and we wanted to acquire that same style. Times change, however, and so do motivations. The vast majority of people don’t care about learning a specific style; they want to learn just enough to enjoy themselves at social dance nights. For this reason, the teaching method that commercially works best is to teach things as if they were mini-choreographies, patterns, keeping everything else to a minimum. Most likely, your lessons will mainly focus on moves or some footwork.

Unfortunately, the consequences of this approach is that we are slowly losing the origin and the cuban style.

The reason is obvious: the typical student starts learning Salsa around the age of 30-35, often with no prior dance experience. Such a person obviously doesn’t want to start with a theoretical-practical path; they just want to have fun. They’re there for that, not to become a professional dancer. That’s why schools need to start from their needs, and simplify things

Out of the many who grow passionate over time, some will be willing to make an extra effort and dive deeper. This will only happen if and when they realize that their only limit is their mindset.

… but from my teachers, I expect expertise

Simplifying and focusing on fun, however, should not be an excuse for superficiality. People expect a certain level of expertise from their teachers! Unfortunately, this is not always the case. Here’s the story: with the spread of Salsa, many schools have sprung up, often led by instructors whose preparation is definitely good but falls short compared to the many Cuban masters.

This proliferation of instructors has played a huge role in further spreading the word about Salsa, but among them are also some “improvised teachers” who, unaware of their own lack of a solid foundation, teach weak techniques and lead their students “off course”. Essentially, their students manage to dance something, but only with each other and within their circle of friends, which negatively affects the healthy spread of Salsa dancing.

Dance is free, and so is teaching: this is why it’s essential for students to know whom they’re entrusting their learning to, so they can choose wisely.

The role of Cuban teachers

The main reason why fewer people study Cuban dances today is largely tied to the little-effort period we’re in. But it’s also due to a lack of charismatic teachers who can spark interest and curiosity. I believe it’s important, even crucial for the future of Salsa, that prepared, passionate teachers come from Cuba. Teachers who can meet the needs and desires of us Europeans.

There’s nothing wrong with schools that teach Salsa in a way that is more accessible to people and less tied to its roots. In fact, this simplification has played a huge role in spreading the dance so widely around the world.

There’s also a significant psychological factor to consider. Some people prefer a course led by someone like themselves. Seeing a Cuban professional can discourage those who are thinking of starting to dance for fun. That’s why they may prefer a school led by someone closer to their local culture. Psychologically, a Cuban professional can be seen as someone who will make you work hard, while a more modest school aligns with the idea of dancing without too much pressure. It is a perception, and as such it is a prejudice often unsupported by facts.

I believe. this is the main factor that has led generations of Cuban teachers to adapt and offer classes that try to entertain in their way: with choreographies that resemble fitness or reggaeton more than their root of Salsa. Younger people may be happy moving their hips, but older people feel often uncomfortable.

Then, there are others who follow Cuban teachers connected to their own root precisely because they want to learn to dance as Cuban in their folklore do. They accept that learning takes time, and they are usually the ones with whom it’s enjoyable to dance.

Conclusion