Do you break on 2 or on 6, when dancing NY ?

#21
africana said:
by the way if the man is putting his chest out "for the world to see" on1 (big lol) how come the woman can't do the same on2?? she has a chest too :p it sounds you guys are complaining about having to step backwards first hahha
i think that's why I like on2 basic :)
Yeah, I guess that's why I like on2 so much...woman coming at you and all that, and indeed, the chest area is a lot more attractive too! :p

(j/k)
 
#22
Lockstep said:
Yeah, I guess that's why I like on2 so much...woman coming at you and all that, and indeed, the chest area is a lot more attractive too! :p

(j/k)
ROFLMAO

Seriously, though, where's the whole thing of "forward = stronger, better, faster, future, etc."? Come on, give me a little credit for being inventive. I wonder why it feels so bad to step back on 1 and forward on 5? It's not like I've been dancing that long, but it just feels more natural to go forward on1. eh... I dunno. Aside from these issues, I still like the On2 basic much more than on1, even though I don't get taught on2. :(
 
#25
Ok.
I had no idea about On1 and On2, because no one has explained that to me.
But from I have read so far I believe that I'm dancing On1 Cuban style.
I've been taught to step forward with the left on the first beat. On the 2nd I just tap my right in place, and on 3 - left foot back in the center. Pause on the 4th and on the 5-6-7 right foot back, left - tap in place - and right foot back in center. Then a pause at the 8th.
I was a bit confused about that 'cos when teaching out instructors usually count only to 3. I.e. the count for a basic would be 1-2-3, 2-2-3.
 
#26
BugBear said:
Ok.
I had no idea about On1 and On2, because no one has explained that to me.
But from I have read so far I believe that I'm dancing On1 Cuban style.
I've been taught to step forward with the left on the first beat. On the 2nd I just tap my right in place, and on 3 - left foot back in the center. Pause on the 4th and on the 5-6-7 right foot back, left - tap in place - and right foot back in center. Then a pause at the 8th.
I was a bit confused about that 'cos when teaching out instructors usually count only to 3. I.e. the count for a basic would be 1-2-3, 2-2-3.
Sounds really weird. It's either On1 OR Cuban style, which is the same as On1, only you start forward on the 3rd beat. I think the fact that you actually tap the 2nd beat instead of placing your weight may be just On1 with bad technique. I wonder how you can actually do anything dancing like that. Sounds really awkward. :-?
 
#27
genEus said:
Sounds really weird. It's either On1 OR Cuban style, which is the same as On1, only you start forward on the 3rd beat. I think the fact that you actually tap the 2nd beat instead of placing your weight may be just On1 with bad technique. I wonder how you can actually do anything dancing like that. Sounds really awkward. :-?
My bad. I place my weight on the foot that I stepped forward/back with. I guess I just can't describe it properly.
I'm getting really confused about this one. We break on the first beat like On1, but when I asked our instructors they said that they are teaching us Cuban style. I think that here in Varna the other school started teaching LA style about a month ago. Up until now both school were teaching the same style, though the moves differ a lot.
 

HF

New Member
#28
The funny thing is that although I dance CrossBodyStyle (on1 mostly but that is not the point) I do not really like stepping forward and backward. For me it feels much more natural to step sideways - something I rediscover whenever I practise my basic on my own in front of a mirror.

Maybe this is what caused Alex da Silva to develop his circle-like basic. There is more in it than I can put in words but I am still thinking about it.
 

Josh

Active Member
#29
HF said:
The funny thing is that although I dance CrossBodyStyle (on1 mostly but that is not the point) I do not really like stepping forward and backward. For me it feels much more natural to step sideways - something I rediscover whenever I practise my basic on my own in front of a mirror.

Maybe this is what caused Alex da Silva to develop his circle-like basic. There is more in it than I can put in words but I am still thinking about it.
Interesting point of view... to me walking or f/b rock steps in any dance almost always feel more natural than a side step since in everyday activities we normally walk forward, and not to the side (at least when we're sober). One of the things I love about slot dances is that at the beginning and completion of most sequences (when done properly) you're facing one way or the other, which keeps it simple. When I do cuban steps and turns I always feel a little less comfortable since it's not a slot anymore.
 
#30
genEus said:
However, as the OP said, whereas the 1st beat of the measure sounds stronger than the 5th, there is no such distinction between the 2nd and the 6th beat. So, while I can somehow in my mind make up a reason for stepping forward on 1 because it just "feels" stronger, I also have to wonder how the convention came about in On2 footwork.
The distinction between the 2 and the 6 is in how they correspond or not to the Clave rhythm. The first hit on the 2 hit side of the Clave will coincide with the 2 if it's a 2-3 Clave, and with the 6 on the 3-2 Clave.

On many (or most?) songs the Clave is implicit and you can't actually hear the Claves (instrument). Also, many (or most? :) ) dancers are not actually aware (or care) of whether it's a 2-3 or 3-2 Clave patterned song, since he basic step can be timed quite well by just following the 1 to 8 count. However, there is a distinction between the 2 and the 6 in this sense.

The whole dancing On 2 thing started because that is the way the traditional Cuban Son was danced. They started ther basic on the 2, corresponding to the first hit of the 2-3 Clave and ended up dancing 2-3-4,6-7-8. What I understand is that their intention was to not step on the 1, and start the movement on the 2.

Actually, clave based dances (Rhumba, Cha Cha, Mambo) also share that, too.

What I haven't noticed or asked of teachers is if they will change breaking forward or backwards between the 2 and 6 if different songs are 2-3 or 3-2 clave. I sort of doubt it. It would seem to throw off "canned" combinations. I'll try to remember and ask if I run into mine.
 
#31
itorres said:
What I haven't noticed or asked of teachers is if they will change breaking forward or backwards between the 2 and 6 if different songs are 2-3 or 3-2 clave. I sort of doubt it. It would seem to throw off "canned" combinations. I'll try to remember and ask if I run into mine.
Have never, ever encountered this.
 
#32
itorres said:
What I haven't noticed or asked of teachers is if they will change breaking forward or backwards between the 2 and 6 if different songs are 2-3 or 3-2 clave. I sort of doubt it. It would seem to throw off "canned" combinations. I'll try to remember and ask if I run into mine.
Old school dancers who dance power2 do so, but indirectly, as the clave never changes. The change felt is the top layers and not the clave. Men dance stepping forward with the left on the 2 side of the clave. Which means that the top layers or the 1, can randomly change, but the dancers keep a steady travel of the 2 side of the clave. Ultimately doing the “switch” by default. It wasn't until after numbers became a norm in salsa street dance that the emphasis was taken from the foundation of the music and directed to the top layers.

I've never taken a class in PR, so I'm not sure how it works with the 2,3,4 - 6,7,8 concept, but in NY City on2 style, and new count driven power on2. If we think about it, the clave is of no concern in a directional dance driven by the 1. Since the dance is meant to be directional in regards to the 1, everything “must” follow the 1, deeming what is correct/incorrect. So much so that a dancer is drilled to change directions according to the 1, changing emphasis of the clave, as well as feel of the music, although the clave hasn’t changed. The top layer changes, but foundation doesn’t, the “choice” is up to the dancer as what to follow.

A directional dance based upon the top layers of the music, or numbers, won’t care for the direction of the 2 side of the clave. It doesn’t care because the clave does not change directions, what changes is the music on top of the clave.
 

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