The History of Dancing on the "Clave"...
- by Marla

The following is based on amazing contributions from:

• Ralph Morffi
• Johnny Polanco
• Ron Acevedo
• Richard Payne
• Ronald McGugins
• Virgilio Figueroa
• Joe Cassini

What is all this fuss about dancing on 2? And what does “dancing on the clave” mean?

I’ve gotten so much e-mail from fellow “2” dancers about these very topics so I compiled this very informative e-mail with interviews from dance teachers and musicians into what you are about to read.

If you’ve read “The History of Salsa” on SalsaWeb, you know that salsa comes from mambo. Mambo comes from son and son comes from danzón..

The basic step of danzón consisted of skipping the one and using it to shift your weight to your left foot (man), then on the 2 you slid your right foot back.

The old danzón was very structured. For example, it had an introduction and a paseo, during which you didn't dance; then came the melody and then either the estribillo or a call for a piano or flute solo; then came the solo, which is where you would open up and show off your ad-libbed moves (shines); then came the call for finish and finally the finish. Each of those sections indicated a different way to dance.

A danzón not only starts with an introduction and paseo, but may have one or more embedded in the music. Usually you'll hear the intro and paseo, then a soft melody; then the introduction and paseo again, and then a different melody that is usually a little faster. Some danzóns have three introductions and paseo.

The intro and paseo always go together. The reason for that was that in the old days when the band started playing the intro, the gentlemen would get up and ask the ladies to dance, then during the paseo they would be walking to the dance floor and, finally, when the band started the melody everyone danced. Who knows if this is true but it sounds nice.

The son was danced the same way, but with more hip movement. It also did away with some of the structure of danzón.

Since the moves in both danzón and son were symmetrical (you did the same thing with both feet), there was no need to differentiate the first 4 counts from the second 4. So people learned to count 1234,1234.

Music and dance have evolved since the old danzón and son days in that the first four counts and the second four counts of the measure are not necessarily symmetrical. Therefore, we now count 1-8. Those who count 1-4 will occasionally hit the 6 instead of the 2. That didn't matter in the old dances because you did the same thing with both feet most of thetime.

The clave is the 5 beat phrase played with two sticks. The clave sets the rhythm for son. The traditional son starts with a guitar and the clave joins in. The clave goes pop-pop-pop . . . pop-pop (3/2).

In the early years of mambo, somewhere in the mid 50's, good dancers danced primarily on 2. The reasoning behind this is that the feel or the soul of the music comes from the clave.

The rhythm of clave can be charted as follows:

Keep in mind that the L beat is slightly behind the actual 2 beat. But if you disregard this fact, for all practical purposes the L falls on the 2. Therefore, when the man steps forward (left foot) he's stepping on the 6 beat or the Clave V beat. Sometimes its possible to step back on the 6 beat (Clave V) and forward on the 2 beat (Clave L). It really doesn't make any difference if you’re going forward or backward on the 2 or the 6. You’re still dancing on the 2nd beat of a 4 count measure. What makes the difference to some people, however, is how they were taught and what they are most familiar with.

In what I’ve outlined so far, the man steps back on 2 but the belief that it is etiquettly more correct for the man to start forward and not back at the beginning of the dance may cause the man to wait until he hears the 6 beat (Clave V) before starting. But no one says you can't start forward on 2.

The feel and soul comes from breaking on the first 2 beat or Clave L beat. At this point it doesn't matter whether you are going forward or back, as long as the 2 count falls on the L beat.

When you dance you are basically using your body as an instrument so it helps to understand the count. It also helps in your ability to
improvise.

Your feet may become a timbale or your hips and shoulders may follow the tumbao. That's why in addition to following the clave it also helps to listen to the bottom (bass) and see where it’s coming from.

Remember that speed isn't everything. Clarity of ideas and tone is. When Manny Oquendo of "Libre" plays a timbale solo, it is a monster solo because it's precise and only fast when it is appropriate. It is understandable and full of improvisation and he is always playing with the count. The same with dancers. They don’t have to spin their partners silly but they should have the "feel” of the music.

Dancing is from the soul. It is a true expression of self. It is the touching of two spirits. Whether you dance on 1 or 2 or whatever, just let your light shine on your partner and it will also shine on you.