When it comes to dancing, counting from 1 to 8 is often used as a basic rhythmic structure for many dance styles. However, some people may have trouble counting 1 to 8 for various reasons:

1. Lack of musicality: Dancing involves understanding and interpreting music. If someone has limited musicality skills, they may struggle to count and feel the rhythm accurately.
   
2. Lack of practice: Counting and keeping time with the music is a skill that requires practice. People who are new to dancing or have limited experience may find it challenging to synchronize their movements with the beat.
   
3. Difficulty in multitasking: Dancing requires coordinating different body movements while keeping track of the music. Some individuals may find it difficult to simultaneously count, move, and maintain their technique, especially if they're just starting out.
   
4. Performance anxiety: Nervousness or performance anxiety can affect a dancer's ability to concentrate and stay focused. This can make it harder for them to count and follow the rhythm consistently.
   
5. Complex choreography: Advanced dance routines often involve intricate choreography that goes beyond the basic 1-8 count. When dancers encounter complex patterns or irregular rhythms, they might struggle to count accurately.
   
6. Lack of body awareness: Dancing requires body awareness and control. Some individuals may have difficulty connecting their movements to the counts because they are not yet fully aware of their own body and how it relates to the rhythm.
   
7. Different learning styles: People have different learning styles, and some individuals may find it easier to learn through visual demonstrations or verbal instructions rather than counting. They might rely more on visual cues or the guidance of an instructor.

To overcome difficulties in counting 1-8 while dancing, here are some remedies you can try:

1. Take dance classes: Enroll in dance classes led by experienced instructors. They can guide you through the fundamentals of rhythm, timing, and counting. Regular classes will provide structured learning and practice opportunities to improve your counting skills.
   
2. Practice with a metronome: A metronome is a device that produces a steady beat. Practicing with a metronome can help you develop a stronger sense of timing and precision in your movements. Start with a slower tempo and gradually increase the speed as you become more comfortable.
   
3. Break it down: If counting from 1-8 feels overwhelming, break it down into smaller sections. Focus on counting and mastering shorter phrases or segments of the dance routine before gradually piecing them together. This approach can help build confidence and accuracy.
   
4. Visualize and internalize the rhythm: Close your eyes and imagine the rhythm of the music. Try to internalize the beat by feeling it in your body. This can help you develop a deeper connection with the music and enhance your ability to count and move in sync with it.
   
5. Practice with different music genres: Expose yourself to various music genres and dance styles. Different genres have distinct rhythms and timing patterns. By exploring a range of music, you can broaden your understanding of different rhythmic structures and improve your overall counting abilities.
   
6. Utilize resources and technology: Take advantage of online tutorials, instructional videos, and dance apps that focus on rhythm and counting. These resources can provide additional guidance and practice opportunities outside of your regular dance classes.
   
7. Seek feedback and guidance: Don't hesitate to ask for feedback from your dance instructor or more experienced dancers. They can provide valuable insights, correct your mistakes, and offer specific tips to improve your counting skills.
   
8. Practice regularly: Consistency is key. Set aside dedicated practice time each day or week to work on your counting skills. The more you practice, the more comfortable and proficient you will become.

It's important to note that counting in dance is a skill that can be developed and improved over time with practice, patience, and a supportive learning environment. Dance classes, private lessons, and regular practice can help individuals enhance their ability to count and stay on beat. Remember, progress takes time, so be patient with yourself. Celebrate small victories along the way, and enjoy the process of improving your dancing and counting abilities.

When it comes to dancing with a partner, why is it so important to count?

Counting is important in partner dancing for several reasons:

1. Establishing rhythm: Counting helps dancers establish the rhythm of the music. It allows them to synchronize their movements with the beat, ensuring that both partners are dancing in time with each other and the music. This synchronization is crucial for maintaining the connection and flow between partners.
   
2. Communication and coordination: Counting provides a common language and reference point for communication between dance partners. By counting together, dancers can coordinate their movements and anticipate each other's actions. This is especially important in complex dance routines or when executing specific moves, lifts, or turns that require precise timing and coordination.
   
3. Musicality and interpretation: Counting enables dancers to interpret and express the musicality of the dance. By counting, dancers can identify musical accents, pauses, and breaks, allowing them to emphasize certain movements or synchronize their steps with specific musical elements. This enhances the overall performance and helps convey the intended emotions and dynamics of the dance.
   
4. Students learning and understanding faster: Counting is an essential tool for learning partner dancing. It helps break down complex dance sequences or choreography into manageable parts, making it easier for students to understand and memorize the steps. It also facilitates effective instruction and feedback from teachers or dance partners, as they can refer to specific counts to correct timing or execution.
   
5. Adaptability and improvisation: Counting provides a foundation for dancers to adapt and improvise during partner dancing. It allows them to make adjustments or variations in their movements while maintaining synchronization with each other. By counting, dancers can communicate changes or cues to their partners, enabling them to respond and adapt to different situations on the dance floor.

Overall, counting in partner dancing promotes coordination, musicality, communication, and synchronization between dance partners. It enhances the overall dance experience and helps create a seamless and enjoyable dance with one another.

The word ‘bachata’ has gone through many transitions, meaning different things at different periods of Dominican history. It started out as just a word designating traditional guitar music, although in the 1960s it was used to label romantic guitar music. A ‘bachata’ was also a generic label for gatherings that took place at informal Sunday afternoon parties where guitar-based groups would play for casual recreation. It was also music that played a large role in entertainment in cabarets (which were actually brothels) and it is only recently that the stigma attached to word has been lessened.

Music of Bitterness: With the death of Rafael Trujillo in 1961, the music – then often called ‘bolero compensino,’ made its way to the capital of Santo Domingo along with a multitude of countryside compensinos that had been living in squalor during the dictator’s reign.

There the music changed from romantic boleros to stories about jealousy, rivalry, fights, poverty and life led in the barrios. It’s not surprising that bachata is equated to the Dominican version of the blues; with lyrics that reflected such dire and troubled lives, bachata became known as the music of bitterness or sorrow.

Jose Manuel Calderon: The first recognized bachata singles (“Barracho de Amor” and “Que Sera De Mi”) were recorded by Jose Calderon in 1961 although it was a decade before the word became commonly attached to a musical genre. In the 1960s, merengue continued to reign supreme in the Dominican Republic and ‘bachateros’ had no reliable outlet in higher social circles nor in the media. It was still embarrassing to be caught listening to bachata and musicians attracted to the genre would often sneak out at night to perform in clubs and bars where bachata was popular.

Modern Bachata: Modern bachata can be dated to sometime in the 1980s. At the time, bachateros were singing lyrics full of sexual innuendo and double entendre. In fact, bachata’s first superstar, Blas Duran, was king of this type of lyric. Duran simplified the music, making it easier for dancers and added electric guitar to his song “Consejo A Las Mujeres” in 1987. The tune became a huge hit, paving the road to bachata’s acceptance by a much wider segment of the population.

Bachata Turns To Romance: By the 1990s, bachata evolved the way music is prone to evolve, mutating and fusing with other genres. In the case of bachata, fusion occurred most often with the country’s dominant genre, merengue.

It was artists like Anthony Santos and Luis Vargas that, during this decade, focused bachata’s themes to the romantic, so much so that by the 1990s the genre dealt almost exclusively with love, most often unrequited or disappointed love.

Monchy & Alexandra: Even with the gradual gentrification of bachata, no one outside of a Dominican population was listening to the music. It took the duo of Monchy & Alexandra to raise international awareness of the music. Monchy (Ramon Rijo) and Alexandra (Alexandra Cabrera de la Cruz) started singing together in 1998 and their complimentary voices together with some clever pop-style arrangements made their albums and international tours huge hits. In the process, it opened the door to an appreciation of bachata by non-Donimican Latinos. (The duo broke up - 9/08).

Bachata in New York: Bachata originally reached the level of popularity that it enjoys today in New York rather than in the Dominican Republic, embraced by a Dominica migrant population that was less class conscious and eager to embrace the music of home. Influenced by rock, R&B and modern popular genres, bachata remains a dominantly romantic music.

Aventura: The group that is currently holding sway over the hearts and minds of bachata lovers is Aventura from the Bronx. Even with the addition of some urban elements, their music remains firmly in the realm of traditional bachata and is helping to win more and more Latin music fans to this distinctive Dominican musical tradition. 

If you're interested in a first-hand examination of the history of bachata, told by the artists that were instrumental to the genre's rise to international prominence, Luis Vargas' Santo Domingo Blues is a film not to be missed.

Wrote this in 2012: click here! Part 2 coming soon!

It can be difficult to determine whether a dance instructor is only interested in your money, but here are some signs that might indicate this:

1. Pushing expensive classes or private lessons: If a dance instructor is constantly pushing you to take expensive classes or private lessons, it may suggest that they are more interested in making money than helping you improve your dancing skills.

2. Lack of personalized attention: If your dance instructor seems disinterested in your progress or doesn't provide personalized feedback, it could be a sign that they are solely focused on getting paid rather than helping you improve.

3. Refusal to answer questions or provide explanations: If your dance instructor refuses to answer your questions or provide detailed explanations about the techniques they are teaching you, it may suggest that they are more interested in keeping you dependent on their instruction, rather than empowering you to learn on your own.

4. High-pressure sales tactics: If a dance instructor uses high-pressure sales tactics to get you to sign up for classes or lessons, it may indicate that they are more interested in making a sale than in helping you achieve your goals.

5. Lack of transparency: If a dance instructor is not transparent about their fees, policies, or other important details, it may suggest that they are not trustworthy and may be more interested in taking your money than providing quality instruction.

It's important to remember that not all dance instructors who charge for their services are only interested in your money. However, if you notice multiple red flags, it may be worth considering finding a different instructor who is more focused on helping you improve your skills rather than just making a profit.
​

• Why does Instructors get mad If you go to other Instructors to learn?​

​Not all instructors get mad if their students go to other instructors to learn, but some might feel offended or upset if they perceive it as a lack of loyalty or commitment to their teaching.

Dance instructors, like any other professionals, invest a lot of time and effort in developing their skills and building their reputation. When students seek instruction from other teachers, it can be seen as a sign that the instructor is not meeting their needs or expectations.

Additionally, some instructors may feel that their methods or techniques are superior to those of other instructors, and therefore, feel that their students should not seek instruction elsewhere. They may also worry that their students will pick up bad habits or conflicting information from other teachers.

However, it's important to remember that it's entirely normal and even beneficial to seek instruction from different teachers. Different instructors have different styles, approaches, and areas of expertise, and exposing yourself to a variety of teaching methods can help you become a more well-rounded dancer.

Instructors who are confident in their abilities and have a genuine interest in their students' progress will encourage them to seek out different perspectives and experiences to enhance their learning. If an instructor becomes angry or upset about their students seeking instruction elsewhere, it may be a sign of insecurity or a lack of focus on the student's needs.

• Do instructors get scared of losing business from their competition?

It's possible that an instructor may be afraid of losing business to the competition if their students seek instruction elsewhere, but this is not always the case. It's important to remember that dance instructors are people with varying motivations and concerns, and there could be many reasons why an instructor might react negatively to their students seeking instruction from other teachers.

Some instructors may be protective of their students and genuinely believe that they are providing the best instruction. They may worry that their students will be misled or confused by conflicting information from other instructors, or develop bad habits that will be difficult to correct later on.

Others may be concerned about their reputation as a teacher and worry that their students seeking instruction elsewhere signals a lack of faith in their abilities. They may fear that their students will spread negative reviews or opinions about their instruction to others.

Still, others may view their students as a source of income and may be worried about losing business to the competition. In some cases, instructors may try to pressure their students to stay with them by using guilt, manipulation, or other tactics.

Ultimately, it's up to each individual instructor to decide how they react to their students seeking instruction elsewhere, but it's important for them to prioritize their students' needs and interests above their own personal concerns or motivations. Good instructors are committed to helping their students achieve their goals, regardless of where they seek instruction or guidance.

• If a student leaves the 1st instructor for the 2nd instructor that fits their needs, should the 1st instructor be mean or discourage the student?

No, an instructor should not be mean or discouraging to a student who decides to leave to learn from someone else. While it can be disappointing to lose a student, it's important for instructors to remember that students have the right to choose who they learn from and what works best for them.

Being negative or confrontational with a student who has decided to switch instructors can create a negative experience for the student and potentially damage the instructor's reputation. It is much better for instructors to remain professional, supportive, and respectful, even if they may be disappointed.

Instead of being mean or discouraging, instructors can use this experience as an opportunity for growth and self-reflection. They can ask their former student for feedback and take the opportunity to learn and improve their teaching methods. They can also focus on attracting and retaining new students by providing quality instruction and building positive relationships.

Ultimately, instructors should prioritize their students' needs and interests above their own personal concerns or motivations. Good instructors are committed to helping their students achieve their goals, regardless of whether they choose to continue learning with them or seek instruction elsewhere.

• If an instructor talks negatively about another instructor, just for the sake of the student not to go try is consider to be what?

If an instructor talks negatively about another instructor just to discourage a student from trying their classes, it could be considered unprofessional and unethical behavior. This behavior is commonly known as "poaching" and is considered to be a form of anti-competitive behavior.

Dance instructors should focus on providing quality instruction and building positive relationships with their students, rather than trying to prevent them from seeking instruction from other teachers. Talking negatively about another instructor can create a negative impression on the student and may ultimately harm the instructor's reputation.

Furthermore, it is not fair to the student to limit their options or opportunities to learn from different instructors. Each instructor has their own style, approach, and areas of expertise, and it's important for students to be able to explore different perspectives and experiences to enhance their learning.

Instead of talking negatively about other instructors, instructors should focus on building their own reputation as a quality teacher and providing a positive learning experience for their students. They can do this by demonstrating their own expertise, providing quality instruction, and building positive relationships with their students.

I hope this helps. Thank you for taking the time to read this.

Finding the right dance instructor can be an important factor in your dance journey. Here are some tips to help you find the right dance instructor for you:

1. Ask for recommendations: If you are at a Latin Club, ask dancers or friends who they recommend who are good Salsa and Bachata Instructor. Most have had a positive experience with in the past or present time.
   
2. Research different instructors: Look up different dance instructors, dance studios or schools in your area. Check out their qualifications, experience, teaching style, and the types of dances they specialize in.
   
3. Attend a class: Attend a class taught by the instructor you are interested in. This will allow you to see firsthand how they teach and interact with their students. You can also observe the students in the class and see if they are enjoying the class and making progress.
   
4. Consider your goals: Consider what your dance goals are and find an instructor who can help you achieve them. For example, if you want to compete, look for an instructor who has experience coaching competitive dancers.
   
5. Personal connection: It is important to find an instructor with whom you have a good personal connection. You will be spending a lot of time with this person, so it's important that you feel comfortable with them and that they understand your needs.
6. Look for an instructor who provides individual feedback: A good dance instructor should be able to provide individual feedback to each student in the class. This will help you to improve your technique and avoid developing bad habits.
   
7. Consider the class size: The size of the class can have an impact on the quality of instruction. In general, smaller classes allow for more individual attention and feedback from the instructor.
   
8. Check the schedule: Make sure the instructor's class schedule fits with your own schedule. If the classes are at a time that is inconvenient for you, it will be difficult to attend regularly and make progress.
   
9. Attend a trial class: Many dance studios offer trial classes, which give you the opportunity to try out a class before committing to a full session. This can give you a better idea of the instructor's teaching style and whether or not the class is a good fit for you.
   
10. Don't be afraid to switch instructors: If you find that you're not making progress or not enjoying the class with a particular instructor, don't be afraid to look for another one. Different instructors have different teaching styles and personalities, so it's important to find someone who is a good match for you.
    

Remember, finding the right dance instructor may take some time and research, but it's worth it to find someone who can help you achieve your dance goals and make the learning process enjoyable. By considering these factors and taking the time to find the right dance instructor, you'll be setting yourself up for success and enjoyment in your dance journey.

Common thing that happens in every partner dance: Is Backleading Beneficial or Detrimental? Let's find out...

Backleading in social dancing refers to a follower attempting to anticipate or control the leader's movements, rather than responding to their lead. This can occur for various reasons, and it's important to remember that not all followers, regardless of gender, will engage in backleading. However, some potential reasons why a female follower might backlead:

1. Lack of trust or patience: A follower may not trust their leader to execute certain moves or patterns, or they may feel impatient and try to speed up the dance by backleading.

• Acceptable when performing.
• Not acceptable when social dancing.
• Not acceptable in dance class.

2. Inexperience: Some inexperienced followers may not have fully grasped the concept of following and may unintentionally backlead as they try to keep up with the dance.

• To help an inexperienced follower stop unintentionally backleading, consider the following recommendations:
  
  • Focus on the basics: Encourage the follower to concentrate on developing a strong foundation in the basic steps and techniques. This can help to improve their understanding of their role in the partnership.
    
    • Attempt in class with your eyes closed.
      
    • Loosen up your arms.
      
    • Concentrate on your foot movements and the way you connect with your partner.
      
  • Develop connection and sensitivity:
    
    • Teach the follower to pay close attention to the leader's signals and maintain a relaxed yet responsive connection. This will help them better respond to the leader's cues, rather than trying to anticipate them.
      
  • Practice patience:
    
    • Remind the follower of the importance of patience in social dancing. Encourage them to wait for the leader's lead and not to rush through moves.
  • Work on balance and posture:
    
    • A strong sense of balance and proper posture can help the follower feel more secure and confident in their movements, reducing the tendency to backlead.
  • Take lessons and workshops:
    
    • Encourage the follower to attend lessons and workshops to improve their skills and understanding of the follower's role in social dancing. Learning from experienced instructors can help them gain valuable insights and techniques to become a better follower.
  • Dance with different partners:
    
    • Dancing with a variety of leaders can help the follower become more adaptable and better at responding to different leading styles. This experience can be invaluable in reducing the tendency to backlead.
  • Reflect on feedback:
    
    • Encourage the follower to be open to feedback from their dance partners and instructors. Constructive criticism can help them identify areas where they may be unintentionally backleading and work on correcting those habits.
  • Practice mindfulness:
    
    • Developing mindfulness and being present in the moment while dancing can help the follower focus on their partner's lead and avoid anticipating or controlling the dance.
• With practice, patience, and a focus on improving their skills, an inexperienced follower can learn to stop unintentionally backleading and become a more responsive and skilled dance partner.

3. Overconfidence: A follower who is confident in their abilities might feel they know what the leader should be doing, and may try to take control of the dance by backleading.

• Backleading can be disruptive to the dance and can lead to confusion between the leader and follower. Here are some ways to prevent it from happening:
  
  • Clearly establish the roles:
    
    • Before you start dancing, make sure both the leader and follower understand their roles and responsibilities. The leader should be the one guiding the dance, while the follower should be following the leader's lead.
      
  • Communicate with your partner:
    
    • If you feel like your partner is trying to backlead, communicate with them in a polite and respectful way. Let them know that you appreciate their confidence, but that you would prefer to lead the dance yourself.
  • Be assertive:
    
    • As a leader, it's important to be assertive and confident in your leading. This will help prevent your partner from taking control of the dance.
  • Practice good communication:
    
    • Good communication is key to a successful dance. Both the leader and follower should be communicating with each other throughout the dance to ensure they are on the same page.
  • Again, take lessons (for the leads):
    
    • If you're having trouble with backleading, consider taking dance lessons. A good instructor can give you tips and techniques to help you lead more effectively and prevent backleading.

4. Miscommunication: Sometimes, followers might misinterpret a leader's signal and backlead unintentionally.

5. Teaching or helping: In some cases, a more experienced follower might think they are helping a less experienced leader by backleading, guiding them through moves or patterns they might not be familiar with.

• Backleading can be detrimental to the development of both the leader and follower's dancing skills. Here are some reasons why:
  • It can create bad habits:
    
    • Backleading can create bad habits in both the leader and follower. The leader may become reliant on the follower to guide them through moves, while the follower may become accustomed to taking control of the dance.
  • It can be disrespectful:
    
    • Backleading can be disrespectful to the leader, as it implies that the follower does not trust the leader's abilities. It can also be disrespectful to the dance itself, as it disrupts the natural flow of the dance.
  • It can hinder progress:
    
    • Backleading can prevent the leader from learning and developing their skills. It can also prevent the follower from improving their ability to follow different leaders.
  • It can cause confusion:
    
    • Backleading can cause confusion between the leader and follower. It can lead to miscommunication and mistakes, which can make the dance less enjoyable for both parties.
  • It can be unsafe:
    
    • Backleading can be unsafe, especially if the follower is not familiar with the leader's ability level. The follower may attempt moves or patterns that the leader is not ready for, which can lead to injury. As you heard me say many times "this beautiful dance can become a contact sport real quick".

It's important to note that backleading can hinder the development of both the leader and follower's dance skills. It can lead to miscommunication and frustration between partners, as well as impede the natural flow of the dance. Both leaders and followers should strive to improve their respective roles and communicate openly with their partners to address any issues that arise.

I hope this helps not for the follower but, also the lead.

What make you a true Salsero(a) or Bachataero(a)...

If you dance, listen to salsa or bachata regularly and have a passion for these dance styles & music, then you can consider yourself a Salsero(a) or Bachatero(a). These terms are often used to describe people who are enthusiastic about these Latin dance styles, music, the history and actively participate in the dance community.

Being a Salsero(a) or Bachatero(a) involves more than just knowing the basic steps of these dances. It also means immersing yourself in the culture surrounding these dance styles, learning about their history and evolution, and developing a deep appreciation for the music, artists that accompanies them.

Many Salseros(as) and Bachateros(as) also attend social dance events, clubs, congresses, conventions, festivals, take classes and workshops to improve their technique, and participate in competitions and performances. Some even travel to other parts of the world to experience different styles of salsa and bachata and to connect with dancers from other cultures.

Salseros(as) and Bachateros(as) often have a deep love for music and actively seek out new and old hits to share with others at social dance events, clubs, congresses, conventions, and festivals. Some are passionate music collectors or DJs who are always on the lookout for new or classic tracks to add to their collections. Some even travel to other parts of the world to discover new music. Whether they are music lovers or professionals, Salseros(as) and Bachateros(as) embrace the rich history and diverse range of music that accompanies these dance styles.

It's very important (somewhat) a requirement to be a Salsero(a) or Bachatero(a) to know the music and artists that sing the music, having knowledge about the music can enhance your understanding and appreciation of these dance styles.

Salsa and bachata music have rich histories and are deeply embedded in the cultures from which they originate. Learning about the artists, composers, and musicians who create this music can help you better interpret the nuances of the music and connect with it on a deeper level. Additionally, understanding the lyrics of the songs can help you express the emotion and story of the music through your dance.

Many Salseros(as) and Bachateros(as) have a deep passion for the music that accompanies these dances and actively seek out new music or awesome classics to dance to. They may attend concerts, listen to music on their own time, and share their favorite songs with other dancers, DJs and musicians in the community.

Ultimately, being a Salsero(a) or Bachatero(a) is about embracing the culture, passion, joy, and connection that these dance styles and music can bring to your life.

Keep evolving, educating and growing. It's keeps the community healthy and strong. Share it with others to continue this culture for many generations to come.

If you don't care, enjoy it as a hobby.

Sexual assault is a serious issue that affects many men & women, and it's important to take steps to protect yourself and reduce your risk in the dance scene.

Here are some tips to help prevent sexual assault:

1. Be aware of your surroundings in a dance studio or club is important for your safety. Here are some tips to help you stay aware:

• Scan the room: Take a moment to scan the room when you enter. Look for exits, potential hazards, and people who seem out of place.
• Stay alert: Avoid getting too lost in the music or your dance routine. Stay alert and aware of what’s going on around you.
• Don't leave your drink unattended: If you have a drink, keep it with you at all times and don't leave it unattended. Date rape drugs can be added to drinks without your knowledge, so it's important to keep an eye on your drink.
  • How about accepting a drink from a stranger or someone?
    • Accepting a drink from a stranger can be risky as it can put you in a vulnerable situation. Here are some things to consider before accepting a drink from someone you don't know:
      • Watch your drink being made: If you decide to accept a drink, watch the bartender or server make it and keep an eye on your drink at all times.
      • Once again, don't leave your drink unattended: Never leave your drink unattended, even for a few seconds. If you do, don't drink it when you come back, as it could have been tampered with.
      • Trust your instincts: If something seems off or you feel uncomfortable, it's okay to decline the drink and move on.
      • Know your limits: Be aware of how many drinks you can handle and stick to your limits.
      • Have a backup plan: Have a backup plan in case you feel uncomfortable or need to leave quickly. This could be a trusted friend or family member who can come pick you up, or a ride-sharing service like Uber or Lyft.
• Stay with your friends: It's always a good idea to stay with your friends when going to a dance studio or club. Here are some reasons why:
  • Safety in numbers: There's safety in numbers, and being with a group of friends can help reduce your risk of being targeted by someone looking to cause harm.
  • Look out for each other: When you're with a group of friends, you can look out for each other and spot potential dangers or uncomfortable situations.
  • Avoid getting lost: In crowded and unfamiliar places like dance studios and clubs, it's easy to get separated from your group. Sticking together can help you avoid getting lost or separated.
  • Have more fun: Dancing and socializing with friends can be more enjoyable than being alone, and can make the experience more memorable.
• Once again, trust your instincts: If something feels off or you feel uncomfortable, trust your instincts and leave the situation.
• Avoid isolated areas: Try to stay in well-lit areas with other people around. Avoid isolated areas like stairwells or dark corners.
• Keep the "one dance" rule: When you're social dancing, it's important to focus on enjoying the dance itself and avoid giving mixed signals. To do this, follow the "one dance rule" and dance with a person no more than once in a row. You can dance with them multiple times throughout the night, but make sure to take breaks in between. This way, they won't get the wrong impression and think that you're interested in them romantically. Dancing with them separately multiple times can help them understand that you simply enjoy dancing with them and nothing more.
• Don't give out personal information: Be cautious about giving out personal information to people you don't know well.

2. Re-emphasizing it, trust your instincts: If you feel uneasy or uncomfortable in a situation, trust your gut and leave the area.

3. Stay sober: Drinking alcohol or using drugs can impair your judgment and make you more vulnerable to sexual assault.

4. Travel with a friend: If possible, travel with a friend or in a group. Once again, there is safety in numbers.

5. Practice good communication: Be assertive and clear in communicating your boundaries to others. Don't be afraid to say no or to speak up if you feel uncomfortable.

Remember that sexual assault is never the victim's fault. No matter what precautions you take, it's important to remember that the perpetrator is the one responsible for their actions. If you are a victim of sexual assault, it's important to seek help and support from trusted friends, family members, or professionals.

Things to consider...

• Learn self-defense: Take a self-defense class to learn techniques for defending yourself in case of an attack.
• Carry self-defense tools: Consider carrying pepper spray, a personal alarm, or other self-defense tools in case of an emergency.

Always, remember no matter where you are "they are wolves among sheep". ​It's important to always keep in mind that there may be dangerous or predatory individuals in any given location or situation, even if most people are well-intentioned and harmless. In other words, there may be "wolves among sheep." Therefore, it's important to stay vigilant and be aware of your surroundings, take precautions to protect yourself, and trust your instincts if you feel uncomfortable or unsafe.

As an instructor I get this comment alot & here is my response, enjoy...

It's understandable that practicing alone can be challenging, especially in partner dances where you rely on a partner to learn and practice specific moves. However, there are several ways to practice and improve your dance skills even without a partner.

One option is to focus on your individual technique and footwork. You can work on improving your balance, posture, and body alignment by practicing basic dance steps and movements. This will not only improve your overall technique but also make you a stronger and more reliable partner when you do have one.

Another option is to practice with a dance instructor or take group dance classes or go out social dancing where you can learn and practice with other dancers. This allows you to learn new moves, receive feedback, and practice with others who have similar skill levels.

You can also practice visualization techniques, where you mentally rehearse dance routines and imagine yourself social dancing or performing them with a partner. This can help you develop a better sense of timing and rhythm, as well as improve your muscle memory.

Overall, while it can be challenging to practice without a partner, there are several strategies you can use to continue improving your dance skills. Remember that consistent practice and dedication are key to becoming a good dancer, regardless of whether you have a partner or not.

The million dollar question...

Becoming a good dancer requires consistent practice and dedication. The amount of practice needed to become a good dancer can vary depending on the individual and the style of dance they are interested in. 

As a general rule, it is recommended that dancers practice for at least several hours per week in order to see progress and improvement. This can be broken down into shorter practice sessions of 20-30 minutes each day or longer sessions of 1-2 hours a few times per week.

Regular practice is important for several reasons.

Firstly, it helps to develop muscle memory, which is crucial for social and performing dance movements with precision and fluidity.

Secondly, consistent practice allows dancers to build stamina and endurance, which are necessary for longer songs.

Finally, regular practice helps to build confidence and allows dancers to refine their technique, social and performance skills over time.

However, it is important to note that the quality of practice is just as important as the quantity. A dancer who practices consistently but without proper technique and focus may not see the same level of improvement as someone who practices with intention and attention to detail. Therefore, it is important to prioritize quality over quantity when it comes to dance practice.

Fania Records is a New York based record label established by Dominican-conceived author and bandleader Johnny Pacheco and his Brooklyn conceived Italian-American ex-New York City Police Officer turned attorney Jerry Masucci in 1964. The name took its name from a well known luncheonette regularly visited by artists in Havana, Cuba that Masucci regularly visited when he worked for an advertising firm there during the pre-Castro time. Fania is known for its advancement of Salsa music.

Disappointed by the pitiful measure of cash he was getting for his accounts, Johnny Pacheco began Fania Records in 1964 and offered records to music stores out of the storage compartment of his vehicle. To assist with financing the business, he merged with his Brooklyn-conceived Italian legal advisor and advertiser Jerry Masucci, and in 1964 established the Fania name to deliver, advance and market the music of Latinos in New York. The label began as a little endeavor however acquired fame after the progress of Pacheco's first record/collection, johnny Pacheco's "Cañonazo", prompting the development of its ability base Pacheco envisioned. Among Fania's unmistakable stars are: Pete "El Conde" Rodríguez, Hector Casanova, Rey Reyes, Willie Colón, Celia Cruz, Eric Gale, Larry Harlow, Ray Barretto, Ralfi Pagan, Luis "Perico" Ortiz, Bobby Valentín, Rubén Blades, Héctor Lavoe, Cheo Feliciano, Adalberto Santiago, Ismael Miranda and numerous others.

This Puerto Rican singer owes much of his personal success to the time he spent with the legendary Ray Barreto. However, Adalberto Santiago has also worked with some of the biggest names in the industry including Roberto Roena and Louie Ramirez. His legacy as a real sonero was achieved during the time he spent with the Fania All Stars. Some of his most famous tracks include "Quitate La Mascara," "La Hipocresia Y La Falsedad," and "La Noche Mas Linda." ​

Tito Rodriguez had a wonderful voice for Bolero. In fact, because of his enduring interpretation of the Bolero song "Inolvidable," he is usually remembered as "El Involvidable" (The Unforgettable). Besides his voice, Tito Rodriguez was also a talented songwriter as well as a complete musician able to play different instruments. His influence on Mambo was significant. ​

Benny More is one of the most important names in Cuban music. A true pioneer of the sonerosgroup, Benny More was able to play it all. From Cuban Son and Mambo to Bolero and Guaracha, Benny More felt comfortable adding his voice to all the rhythms from its native land. He was also a member of the legendary Trio Matamoros. ​

"El Conde," as he was known, had a wonderful, powerful voice that fit the heaviest Descarga in the same way it fit the sweetest Bolero. He gained worldwide exposure with Johnny Pacheco and the Fania All Stars. Some of hist best singles include "Catalina La O," "La Escencia del Guaguanco," "Micaela" and "Sonero." His version of the Bolero song "Convergencia" is one of the best in its genre. ​

Besides having all the features that define a sonero, Ruben Blades has produced some of the most meaningful lyrics in Salsa music. His glory has not only touched music but also acting and even politics. Some of his most popular hits include "Plastico," "Decisiones" and "Te Estan Buscando." His single "Pedro Navaja" is considered one of the greatest Salsa songs of all time. This Panamanian artist built a big chunk of his initial success alongside Willie Colon. ​

Cheo Feliciano is the owner of one of the sweetest and most romantic voices Salsa music has ever known. This Puerto Rican singer started his career back in the 1960s with the legendary Joe Cuba Sextet. Right from the very beginning, Cheo proved to be a gifted artist who later on consolidated his own name with the famous Fania All Stars. Some of his hit songs include "Anacaona," "El Raton" and "Amada Mia." ​

Oscar d'Leon is Venezuela's greatest Salsa artist in history. "The Lion of Salsa," as he is often referred to, is an essential star of the groups of soneros that have shaped Salsa music. Besides having an amazing voice and a large music repertoire, Oscar D'Leon is also one of the best performers on stage especially when playing his bass. His name is a must have in any list dealing with best Salsa artists in history. ​

Not all the big soneros have been male artists. In the history of Salsa, there is a big exception to that rule. The name of that exception is not other than Celia Cruz, the Queen of Salsa. The legendary Cuban singer has been, in fact, one of the best soneros (soneras?) in Salsa music. Her powerful voice, charismatic style on stage and ability to improvise lyrics in the middle of a Salsa melody gave Celia Cruz the highest status that any Salsa artist can achieved. Some of the top songs by Celia Cruz include "Tu Voz," "Burundanga" and "Sopita En Botella." ​

Regarded by many as the best Salsa artist in history, Hector Lavoe revolutionized this music genre with his unique, nasal voice and the amazing ability to come up with lyrics able to fit any note. Known as "La Voz" (The Voice) or "El Cantante" (The Singer), Hector Lavoe is definitely one of the best soneros of all time. ​

This multifaceted, extraordinarily talented artist always dreamed of becoming an actor. He was ruggedly handsome with an excellent physique. But fate had something else in store for Adalberto Santiago.

From a very early age, Santiago was known for his beautiful voice. Didactic by nature, he was able to master a wide range of tones. He learned to play guitar by ear and began playing music, finding inspiration in everything around him. Eventually, he formed his first romantic trio, and the band performed at weddings and other parties. He received his first musical award on “Tribuna del Arte,” a popular television show hosted by Rabel Quiñones Vidal (pic below) that popularized many artists in Puerto Rico.

While he was working with Chuíto and Barretto, Santiago collaborated with other groups on various albums, including several on the Fania Records label: “Adalberto Santiago,” “Calidad,” “Feliz me siento,” and “Popeye el marino.” These albums boasted several smash hits, including “Llévale a Mi Amor,” “Tirita,” “Sácale Punta,” “Debut y Despedida,” and “Píntame.”

Adalberto Santiago has had one of the most prominent careers in the music industry; and although the acting world missed out on a true talent, the music world gained a phenomenal artist who occupies a seat of honor among the greatest musicians of all time.

​One of my top 10 soneros!