cross body lead

[newsalsera]

what is the key to a sensational cross body lead? my partner and i are having a little problem .... our efforts to create some tension and "snap" in the move are throwing me off balance. especially when going into an inside turn and other moves. we just can't get it right -- help, what should we do? (i'd love some specific advice, like in the "cuban motion" hips threads, which i found very helpful. oh, and we're learning ny style salsa -- step on one, break on two.)

[peachexploration]

Hi NewSalsera. Welcome to the DF. Here is a link with an in-depth explanation of a Cross body lead. http://www.ballroomdancers.com/Dances/media.asp?Dance=SAL&StepNum=4
Also, take a look at this link to see if there is anything there that may help: http://www.solosabor.com/videos.html

Boriken, any suggestions for On2 dancers?

[Hank]

I'm not sure what you mean by step on one, break on two. I'm going to assume that you are stepping (and thus breaking) on one, which is the first beat of the measure. If instead, you are holding one and stepping (and thus breaking) on two, then add one to all of my counts below.

There are many problems that can cause a lack of snap in the cross body lead.

1. Ensure that both of you are are holding and not moving on 4. The leader and follower should be perpendicular to each other, the leader out of the slot. The leader's left hand and the follower's right are down, with the leader's left hand blocking the follower from moving forward. If the follower moves forward on 4, this will cause a lack of snap.

2. On 5, the follower steps forward with the left foot and the leader steps to the right on the right foot. Nobody turns on 5. If the follower prematurely turns on 5, this will cause a lack of snap. The follower's step should be small enough so as not to pass the leader's left foot down the slot.

3. On 6, the follower steps forward onto the right foot and then turns. This delayed turn is part of the snap of the cross body lead. One of the fundamental principles of turning is never turn into a turn; instead, establish direction with the foot that will turn, get the weight over the foot that will turn, and then turn. If the follower turns her body prior to getting her weight over her right foot, this will cause a lack of snap. The leader fills into the space that the follower vacated.

[SDsalsaguy]

Hank, step 1 break 2 is Eddie/NY2... a different animal than power/classical/Palladium 2 that would, indeed, just be a one number shift up from on1.

[Jack]

In don't know about making it look real great. but I was not stepping back enough on 5 "out of the way" enough for the lady to pass.....I have now corrected this and chaned to more of a compact cross body lead I feel is pretty smoothe.

[Genesius Redux]

Hey New Salsera!

Salsa is actually my most neglected dance, so you may want to shop a bit on the salsa forum, but for what it's worth I've pulled and pushed plenty of partners off balanced while learning X Body Lead. So here goes....

As Hank says, if you don't hold when you need to, that can make the step look muddy. If your partner begins to move you too early, however, that may also cause you to lose balance.

I don't know if you're doing a two hand hold, or how you're learning. But in either case, your partner's steps (at least as I first learned it) are:

Forward-Back-Side-Back-Forward-Together.

The Side step (on whatever count) is supposed to hold and open up a path for the lady.

My partner's steps:

Back-Forward-Together(hold)-Forward-Forward(Pivot)-Together

When I was first learning, I was good about holding the step, but because I was using a double hand hold, my upper body was anticipating the next step, and thus pulling my partner off balance on the hold. The problem was compounded by the fact that I had a number of partners who didn't keep moving forward on the second half of the step--so I was paranoid to get her all the way over to the other side so I wouldn't step on her. In other words, the fact that we were both making mistakes contributed to just the sort of problem you're describing.

So, one *possible* answer--your partner should be careful not to pull you forward when he opens the path for you, and you should be careful to keep moving forward when that path is open and not jamming up your partner as he closes.

Does any of this sound reasonable?

HTH,

Genesius

[borikensalsero]

Hmmmm....

Some snap and tension...

I’m going to mainly concentrate on him, since it has been a while since I explained the ladies CBL in Eddie’s Style. I apologize. And I’m assuming you know the workings of the CBL. Sorry I’m swamped at work and can’t give more detailed information.

This might be a lot harder to point out than the hip motion.

Ok, Have him start the prep before the one. Meaning that his left foot is thinking push backwards when it hits the six (he must finish the 6, weight on that foot), then instead of his foot going first to hit the one, have his head turn then his upper body follows it ending exactly perpendicular to you. He should explode out of the 6 (wait for the 8th beat) onto the opening to the CBL and the 1. He basically creates the extension with his body as opposed to his feet. His body should be balanced, body leaning on the left leg on the 6, not just sticking the left foot forward to hit the count but really getting his weight on it. From that and after the 7, BANG, head goes, body goes, right hand stays on your back creating the extension you are looking for then his feet hits the one. When he hits the one he must be perpendicular to you, head looking in the direction of his left shoulder, his feet ( I disagree with most but I’ll stick to what everyone else says for simplicity reasons) should be pointing in the same direction that his body is (forward) He doesn’t need a long spread of the legs, but enough to get a good tension on his right arm and have good balance.

At first tell him not to use the left hand to get that “spring/stretch” connection. Work on that spring like connection until you feel like you’ve got it. Which means that you guys only need to concentrate on the 6 7 8 1 counts at first. When he hits the one his body must be out of your way, yet you must walk right in front of YOU, as if you were going to walk right passed him and not stopped. Don’t bounce to the left, nor do that little kick thing that Eddie Teaches as a styling thing, until you’ve gotten better. When you get that connection going then have him use his left hand as a guide, he should bring it as far forward as your stretched out arm allows, which means your arms length. His left arm and your right arm should be down around the waist area. There is really no pull on your right arm, just a simple point of direction, the arm down is indicative of the starting/ending point of a move.

His lead out of the 2 should mostly be generated with his right hand, not a tug nor a severe push on your back, just enough to smoothly get you going. Now, help him here, tell him how it feels to you and maybe how he can help you get moving. Don’t tell him it feels wrong. Just tell him how YOU like it best. It is of most importance that you both go on the 2 and are communicating on how things feel. You must wait for him to lead you into the CBL. You should be on the ball of your feet waiting to attack the 2 as it is obvious when the CBL is coming and take off, again as if you were mad and wanting to walk right passed him. He should really “feel” like if he doesn’t inside turn you, or stop you, you are going to fly right passed him. The generation of momentum is what ultimately makes that span look so snappy.

Now, you/him and the snap, which is on the 3 using the 4 and the 5 to finish it. Don’t over use it. It only looks good (IMHOP) to fast songs. Slow songs don’t really have snaps, it tends to make the dancers look choppy instead of crisp if done improperly. When you hit the 3 have the landing foot (right) ready to be inside turned, which you should already be doing because it is a good practice to dance feet slightly point out. You will notice that you need to point the foot out for he “should” have already began to signal you for the inside turn. Usually by bringing your right hand across your body as you are about to hit the 3. As he signals you to spin, whip your shoulders around fast yet under control so when the five comes you are already facing the way you came from, finished your spin, and ready to attack the 6 (which means you will always be ready for his next move)

Hope this along with the other replies helps you New Salsera, and welcome to the Forums!!!

[newsalsera]

thanks, everyone, this is VERY helpful. boriken, when you get a chance it would be GREAT if you could post similar instructions for the follower's part.... please?

[borikensalsero]

thanks, everyone, this is VERY helpful. boriken, when you get a chance it would be GREAT if you could post similar instructions for the follower's part.... please?

Sure, It'll be my pleasure. I'll write it up tonight at home then post it here sometime, hopefully tomorrow. I appologize for all the grammatical errors on the pervious posts. I'm on the run... :car: SORRY.