Yesterday I had a bachazouk class and I felt as a leader that I don't have the right feeling for the elasticity and that my followers feel that as well, especially during the tilted turns.

Soo 2 questions!

How to get a better feeling of the elasticity itself and how can I practice it at home?

Thank you!

I want to watch the Geneva World Cup solo category, but I only found the couple category on their page. Does anyone know where I can wat h solos?

Thanks!

Long beginner/improver lead here, was doing a dance class recently and we had this excersise.
Teacher gave us 5 moves to include in a 1 min choreo of whatever song we wanted.Completely failed it but made me think how i'd do it right.

Process this far:

Went and figured out the counts of the steps (as shown below, idk if right or wrong), write down their feeling for what i m looking for in the music.

Then went listening to songs trying to find a good enough segment that i could fit em. Listening live and trying to decode the counts was hard af, trying to find sounds/instruments where they'd fit is hard af. Quiet stuck. Top contenders is barcelona/chacha/mamacita due to how busy they get.

I'd have to go wright down their 8's and syncopations, see where my moves fit, and then fill out the other counts with any move that fits.

Any better ways of doing it or tips?

This is for a solo choreo, that i dont really care much, but knowing how to identify the sounds/moves/energies and having them organised in your head would be a very transferable/beneficial skill to use while social dancing i guess?

How to imagine the moves adjusted to fit different instruments/energies?

My brain standards of "this fits" are quiet narrow/specific, not experienced enough to adjust.

Moves :

Patin step 1 2 3 4 + (push yourself back/side a bit with tap foot toes on 4+ or 8+)

Feels like a quick breath between 4 counts segments, like how i'd "rush" to get into the next 1 or 5 cause the 4 or 8 didnt leave me enough time to move. Quick stop and go?

Picala 1 2 3 4 (partial weight transfer, tap, step, tap)

Feels like a Bam Boom Jump tap. Ideally the 1 and 2 feel like oposite sounds or just as very clear/loud and then slide/quiet/soft/vroom for 3 and pause.

Arrow 1 2 3+4+ (, Point front, point side, step back, syncopation back, step front, tap)

No clue, bs step. Like point point cha cha cha. Feels like the 3+4+ is a common sound. The 1 2 pointing feels like a soft opposing thing, 3 is a clear sound and then there's a running/rush to get back to your next 1 or 5.

Ping pong/Ping pong chacha 1+2+3 4(side to side, step left, syncleft, step right, syncright, step left, tap)

relatively common? but usually in very busy sections of the song that there's no rest period before or after. Whenever is gets busy with guitars (the walking around in tiny toe steps feels more fitting to guittars). Idk, feels like quick steps to fill busy music with recognisable instrument hits.

I’m pretty average at bachata having started all Latin styles late last year. I started going to socials weekly beginning of this summer and I especially try to go to all of the 100% bachata socials.

It feels like experienced follows give me a different body language than experienced leads, making it difficult to ask them for a dance. For example, it feels like they’re looking past me, not at me when I’m nearby.

Additionally for the record, I try to dance with everyone at least once, regardless of experience

Meanwhile everyone has essentially been dancing for a minimum 2 years and are comfortable with each other.

I guess what prompted this and got me a little melancholic because of recent experience is an organizer posted a story of things they have learnt as an instructor and organizer, and one that seemed to resonate with everyone who liked and responded is, (and I’m paraphrasing) dancing is a communication and it’s important then to talk with everyone.

I feel a little lost as someone who’s earnestly trying to get better like taking classes, every workshop I can, and going to weekenders, practicing a ton at home both the fundamentals and combos.

Organizers are incredibly nice and active, should I ask what they’ve seen and what I could be doing? Is it just a matter of getting better or maybe I need to develop a thicker skin and just ask every time for at least a dance per social, all of the above?

I routinely encounter teachers who are definitely not good enough to teach.

And I am not talking about ​​​​​​​​​​​​style preference, or didactic skills, which is bad enough. I am also not taking about inane volume and way too complex moves for the present audience.

​​​​​​​​​​​​​​Sometimes​ (mostly at pre party​ workshops) I encounter people who are just not ​​​​​​​even good dancers who are teaching bad technique to beginners. ​​​​​​​​What do you do in such situations? Do you call them out publicly (gently)? Talk to them afterwards? Talk to the students afterwards? ​​​​​​​​​​​​

Please assume for the sake of the argument that i do indeed know what i am talking about, and that the technique issues are not variations, but just plain bad ideas. ​​​​​​​​​​​​​​​​​​​​

So I’ve been thinking about this lately, and as someone with a background in psychology who’s also been in the Latin dance scene, I find this really interesting.
I’ve noticed that a lot of people in the dance community are in their 30s, 40s, or older, single, without kids, and going out dancing, drinking, and partying multiple nights a week. Obviously, there’s nothing wrong with that lifestyle if that makes them happy, but it got me thinking about the psychology behind it. Iwonder if for some people dancing becomes more than just a hobby. It becomes their main source of validation and self-worth. Maybe they’re not where they expected to be in life, whether that’s relationships, career, family, etc., but in the dance scene, they’re popular, talented, admired, and getting attention. And here’s where I find it interesting. Could seeing someone else succeed, subconsciously trigger insecurities or jealousy? I’m not saying people are openly discouraging others or intentionally trying to bring them down. I’m talking more about what might be going on internally, even if they don’t realize it themselves. It makes me think about social comparison theory, projection, compensatory self-esteem, and scarcity mentality. Like, could some people subconsciously want others to stay in the same lifestyle because seeing someone grow beyond it forces them to reflect on their own choices? Even things like encouraging others to drink, party, stay single, or giving questionable relationship advice make me wonder how much of that is influenced by their own experiences and insecurities.
And obviously, I’m not saying this applies to everyone. I’ve met some amazing people through dancing, and plenty of people are genuinely happy with their lifestyles. I love dancing myself lol.
But I do think there’s an interesting psychological side to the social dance community that doesn’t get talked about enough.
Has anyone else thought about this or noticed similar dynamics? I’m curious to hear other perspectives

Hey all,

I am working on a Bachata choreo and I want to find use a unique bachata song, something that sounds different. Maybe its a riff, maybe its the intro, maybe its a style or other musical inspiration. If you have a song post below, I would appreciate a link, but happy with a title or artist. Thanks

Hiii, I’m male leader begginer about 3 months,
MY technique hasn’t improved alot
Socials are bit hard for me now
What I thought is to practice with beginners followers after class or swap contacts to meet later

1 question Would this sounds creep if i went to them after class and asked to practice together or ok?

2 question is it okay to small talk to followers during the dance to break the ice,
Ido it often and have no idea if it’s bad attitude or

Edit :
Sorry it was not that clear I meant to practice after the class
Or decide to come earlier the next class to practice the old moves or go to social together
Sometime I see familiar faces so would be helpful for both of us
So i can ask to swap contacts
2 question, I meant by small talk like how was your day or what is your name
Because when we switch and i just grasp hands start the move feels awkward abit to me

Thoughts? Controversial opinions? GO!

I’ll go first: Dancing in timberland boots is a power move

Been seeing questions like this pop up in various dance subs and realized I actually don't have a guide on it here so here we go.

How to connect to the music more. Bachata Musicality. Coming up with your own combos. I think all of it is related.

Match the energy

To start, I think basic musicality revolves around the energy (texture) of the song and the section you're dancing to. Match the vibe. Slow, intimate, sensual part (usually the intro or bridge)? Your moves should match that essence. Sensual moves, of course, fit well here. But it isn't only sensual that works here.

The key is timing, rhythm, and "shape".

• Dancing to the core beats (1, 3, 5, 7)
• Extending moves to take up the entire phrase (a full 8-count)
• Continuous movement rather than noticeable breaks in between (ex: wave vs body roll + reverse)
• Preferring "smooth" movements over "sharp" ones (think chest circles vs chest pops)
• Close position (some of you will know it as semi-closed or social position but I'm actually referring to both closed positions here) plays to the vibe here as well

Verses are actually very similar energy/vibe wise to the sensual parts of songs so many of the same ideas work. If we put the sections on an energy scale, the intro would be a 1 and the verse would be a 2. Personally, during sensual parts I like to stay on the spot as much as possible, while adding a bit of movement (travel) during verses but that isn't a rule you need to follow.

The chorus is where the song comes alive. If the intro and verse both ask for low energy and smooth movements, the chorus is begging for you to come alive. In my opinion, most of the stuff you learn in class (and see in demos) belongs here. The crazy turn patterns, the BachaZouk stuff, etc.

• Dancing basic rhythm and adding syncopations (1, 2, 3, 4, etc or 1&2&3&4&, etc or any combination of those)
• Sharp movements (chest pops, body isolations, majao hips)
• Turn patterns (Bachata Moderna, BachaZouk)
• Playful movements (Double prep turn/turn on 3, rotating hip rolls)

Sensual movements can also be done in this section. Just "change the energy". In other words, more blocks, redirections, and noticeable separations between moves (i.e. make the movements sharper)

And then we have the instrumental section. The highest energy section of the song. To many people, this is the section for footwork and/or more Traditional Bachata movements in songs that are otherwise heavily influenced by pop and r&b music. And frankly, it makes sense if you think about it. Your feet are the only things that come close to keeping up with the rhythms being played in this section.

However, there are also many people who choose to do body isolations during this section. In my opinion, this is an advanced skill as matching the high energy of the section with body isolations means doing them fast which means having excellent body control (and a connection to your partner) to be able to do them small compact enough to even be capable of doing them at that speed.

Match the rhythm

Next, we have dancing to the instruments and vocals. This one is conceptually simple. Hear something, match its rhythm. The best example is the bass. It often plays 1, &3, 4. Slow... quick, quick, slow. Or we can take the guira or bongos during the chorus as an example. The rhythm they both play (called the majao) is the basic rhythm: 1, 2, 3, 4.

The concept applies to any instrument and vocals though. If there's a rhythm you can match, do it. And it also brings us to another concept: contrast.

If you were to match the rhythm played by the guira during the verse (this rhythm is called derecho; eighth notes or 1&2&3&4&) you would actually be contrasting the energy of that section. This is neither a good nor bad thing. Its simply a choice you can make. You, as a dancer, are another instrument. Sometimes, you may want to blend in with the other instruments. Sometimes you may want to stand out.

Another example of this is during a pause/break in the song. Matching the rhythm (or rather the absence of one) is this case means doing nothing. Stillness. Contrast would mean doing something opposing like a double spin.

And, yet again, that brings us to another concept: complementing. Technically, we can say any movement at all would contrast with a break in the song. However, if we think of it as a spectrum, contrast sits on the far end. Complementing (something like a head roll during this break; smooth and connected and yet not stillness) would sit somewhere in the middle.

And going even further, we can say we are always doing multiple things. Ex: matching the rhythm and contrasting the energy.

Going back, I want to bring special attention to the vocals for a second, because I think they get overlooked. Using one of my favorite songs as an example (Morena by Roman), part of the chorus goes, "Mo-mo. Mo-re-na". We can match this (or any other lyric) rhythm just like any other instrument. Body isolations are your friend here.

How to actually practice this

Probably the most important part of all of this. How do you actually practice this and get better? "Just listen to a lot of music" Put on your favorite song at home and just listen to it start to finish the first time. Don't dance. Don't do other things while you listen. Actively listen to it and notice what sticks out to you. Does it sound sad? Happy? Does it feel energetic? Is an instrument doing something cool? Was there a break you never noticed before dancing to it?

Next, you're going to dance to it. Restart it. Pick one thing, one part, something. Anything. That could be the intro. That could be an 8-count leading up to a break. That could be a part where the guitar or vocals really stand out to you. And now, you're going to experiment. Match, complement, or contrast it. Matching is going to be easiest and probably where you want to start. Try one movement and see if you like it there. Then replay this part again and try something else. A different movement. And then pick a different part of the song. And experiment with it the same way.

The goal is never to memorize the song or inadvertently create a choreography for it. Music is not random. Breaks happen in many songs (and they usually aren't random either; there's almost always a tell that one is coming). Every song has sections. Every song will use, if not the exact same rhythms at some point, very similar rhythms. Every song has a "theme".

You dance to one specific portion of the song and experiment with it to build sound association, creativity, and drill movements into your muscle memory.

You can do all of this with YouTube or Spotify or Apple Music or whatever you use, of course, and it will work fine. If you want something made specifically for dancers to dive deeper into music and practice efficiently and effectively, my brainchild Show Me the Counts (SMTC) is also available.

Hello, bachateros,

Recently I was in open air bachata party in Phuket, Thailand and was sweating buckets, even in the evening. In airconned parties I dont sweat too much, but still do. Do you guys (males) use something against sweating?

I tend to sweat a lot when I dance after like 45min-1hr, any tips on how to deal with it? So far I try to use a small towel to dry myself in between dances and go outside for air. Also been thinking of using a headband or something along like that. Any tips that could be helpful would be greatly appreciated!

Hello,

ich habe mich als Solo Dame zu einem Kurs angemeldet und war fein mit wechselnden Tanzpartnern; auch habe ich schon auf Milongas oft mit Fremden getanzt und es hat gut harmoniert.

Mein neuer Tanzpartner wurde von der Lehrerin zugeordnet, es passt vom Alter gut... Allerdings sieht er das eher wie ein Blind Date? Also er verhält sich flirty, fragt mich persönlich Fragen. Mir ist das wirklich unangenehm. Man kommt sich beim Tanzen doch deutlich nah, hat Körperkontakt - mir fehlt etwas die Professionalität.

Vermutlich werde ich mal wieder einen Freund oder eine Partnerin erfinden und droppen... Ein "offenes Gespräch" finde ich schwierig, wenn man sich kaum kennt.

Wie würdet ihr vorgehen?

EDIT: Er ist kein Grabscher, unter anderen Umständen könnte man es als "süß" bezeichnen.. aber ich kann's wirklich nicht weglächeln oder genießen...

Hello everyone

I've been taking salsa and bachata classes for 1 year. I do very well in classes (2 h/week) and I actually find most classes easy and almost boring

I've been dancing socials (usually 2 nights per week). The first months were very difficult and not enjoyable at all. After the 6-month mark I started having a bit of fun because I finally had enough moves for a song. I was very excited about new moves and every good move or good dance felt like a win.

Now, after 1 year, I'm starting to actually listen and feel the music, instead of just counting 1 to 8. I work on my musicality when I'm alone and I enjoy playing with the rhythm. But I've also realized that dropping moves and keeping the beat is not enough for a good dance and I see now how good some dancers actually are. And this has shattered all my confidence. Bachata feels incredibly boring without feeling the music. But I can't find a way to enjoy the music when I have a partner in front of me because thinking about the moves takes all my brainpower.

I've tried just doing basic moves (3-4 moves) but it just feels boring, pathetic and not connected at all. And with no connection I think the follow feels as bored as me.

How do you put together moves with feeling the music?

Thank you all

Hi everyone! I've hit a wall in my bachata leading and wanted to ask other leaders to see if they've encountered this when they first started.

I've been dancing for 2 years, but I've really just been in classroom settings. I'll learn a lot of things in the classes, but when it gets to socials, all the things I learned just fly out the window. I end up doing the same 3 or 4 moves or combinations, and I can't grasp the things I've learned. I've even taken private lessons for a few months, but the progress didn't permanently stay.

Some things I thought of now that I've decided to slam my head against the wall seriously instead of being discouraged:

1. I think I should build a mannequin at home. I find myself craving a practice partner to test moves on, but I'm single and don't want to just take a stranger's time forever.

2. I'm asking you all on this reddit for help, because my main bachata teachers are a couple, and the leader doesn't no private lessons, only the follower. The leader is also more a group attention person and not really a one-on-one type teacher.

3. I jump from dance to dance in the practice socials our studio/school has, and I'm wondering if maybe I'm not giving my brain a break. I see other leaders going from dance to dance, so I'm not sure if that's right. It also feels like that would be admitting that I don't improv as well as other leaders, and I want to think I have the potential.

4. I love dancing to songs I know, because then I can somewhat plan what moves match the song. But a lot of times the songs are ones I don't know and I feel a little lost. Songs that are more traditional don't really grab me like more modern ones do, so should I just not dance the ones that are more traditional?

If any leaders experienced something similar, please let me know what either worked for you or what you accidentally discovered. I've had this same wall for a year now, and I and my teachers are frustrated (them on my behalf). Thanks!

It’s new and I’m wondering what to expect. I’m also considering wearing a Halloween Costume

I recently moved to a new location with very few classes and socials, almost exclusively sensual. I’m female, i dance Dominican and don’t enjoy waves and rolls as a follower, so I converted to leader. Did a few class and it's time to go to socials.

Since I’m new to the area and I’m in the “wrong” gender role, I’m wondering how to approach socials in terms of clothes, general appearance, and behaviour.

Obviously, I’ll ask the followers, but basically, I'd like people to look at me and identify me as a leader to avoid interactions that are awkward for everyone involved.

I’m seriously considering simply getting a top with the word 'leader' printed on it to make it clear until I get to know people and they are used to me. But probably that's too much?

Extra question just out of curiosity: do female leaders get more or fewer rejections? As a follower, I liked dancing with female leaders because they always had a good level and didn’t do weird things, but i also know women who are like 'eww, i only dance with men'.

I thought this was a Salsa festival. Do they combine it with Bachata? I was looking at their Facebook page and it looks like the same festival. I guess its the same organizers, but has anyone attended this festival? Everyone talks about the Bachaturo festival in Poland, but this seems like a better vibe and more friendly. I don't know. Thoughts?

I am a male lead and I dance salsa and bachata around 5 years now - so not a beginner anymore. In the beginning I enjoyed the socials, but since 2 years now or so I actually pay more attention and notice that it is almost always me, who has to ask someone for a dance.

Of course I check all the basics - good hygiene, I do not force moves and try to create a pleasant environment for the followers and so on. There are a some followers from my classes that enjoy dancing with me and when we meet at socials, we always end up on the dance floor.

But there are so many occasions where I go to a conference or a venue and I always have to make the effort. A few times now I did not ask anybody just to see if someone approached me. And I stood at the side lines literally 3 hours and not a single person asked me for dance, even though I was there with open posture and clearly indicated that I want to dance, while the followers pulled other leaders onto the floor.

This has absolutely destroyed my self confidence and also spilled into other aspects of my life, since I am obviously so repulsive that is a torture to spend 3 minutes with me.

Ok so I really want to take a beginner bachata class at my local bachata group, I have a few friends that go and want me to come. I feel like I’m an ok dancer and have good rhythm as a musician.

I am a very large girl though. I’m also a bit taller. I’m about 300 lbs. I KNOW I can physically do the moves, that’s not my concern. This isn’t a “can I do the class” post. I am physically fit enough to do it, just wanna make that clear.

But my question is, how many men who go to these classes would be really upset to get a partner like me? I have put off going because every time i think about going im just imagining every man in the class going in their head “as long as i don’t get THAT one as a partner I’ll be fine.”

Is this something that happens? Is there any way to try and avoid this sort of thing? Should I maybe ask the instructors if i can just observe the class so nobody is forced to be my partner? Has anyone ever dealt with a similar situation?

I don’t need any validation in the comments like “stop your beautiful” I just want some realistic feedback. Like “yes you would hinder my bachata experience if I had you as a partner” or “no that wouldn’t bother me as much.” Just looking from some feedback from some regular bachata class attendees to see if I should just go to the class or not….

Part of the problem for me is that I barely take bachata classes. Particularly Sensual Classes. When I do get the chance, I take these drop-in classes at a studio that teaches Traditional Bachata. I prefer to dance Traditional when I get the chance, but when I see people dancing Sensual, I just don't. I am not comfortable learning the body rolls and all the movements that involve Sensual. Also, at most of the socials I go to, they are playing Bachata mixes and its mostly sensual dancers, so I just tend to avoid dancing bachata because I can't really do it.

And anytime I do decide to dance bachata with someone who dances sensual dances, I just feel like they are judging me and not enjoying the dance. I also feel like I don't know what I am doing. However, whenever I do dance traditional Bachata i feel like I know way more than I am doing, and I have way more fun, followers think i am latin when i am Jamaican.

But when it comes to Sensual Bachata, I have followers walk off on me mid-dance, which I understand; they told me I was better at salsa than bachata and just looked disappointed in how I was dancing. So how do I go about dancing bachata with someone advanced and used to sensual movements?