The right moves on the dance floor

The three salseros were grooving on the dance floor.

They were moving to salsa rhythms, in their black-and-gold slinky dresses, in their salsa shoes.

As a rapt audience at Ryles Dance Hall in Cambridge watched them shimmy their shoulders and hips through a series of spins, rapid footwork, and hand movements, their glittery gloves lit up the dance floor.

The audience applauded, amazed at the ladies of the local Sabrosuras dance group.

``It's the moves," said Manny Ortiz of Chelsea as he watched the performance. ``And it's very sexy."

Though it looks sensual and spontaneous, dancing salsa -- even on a mediocre level -- takes the right gear, lots of practice, and the right attitude.

For the gear, regular party clothes are fine, but salsa dancers wear shoes made for salsa, with suede bottoms and support to help wearers navigate turns, keep movements light, and glide on the dance floor.

Before you put on your dancing shoes, however, you've got to focus on the music and the traditional sound of claves, two sticks that are hit together to set the tempo and create the heart of salsa music

For the practicing, salsa requires learning turns and footwork and putting them to work via hand and eye coordination with a dance partner.

It all starts with the fundamentals: There are eight beats of music to the basic step pattern of salsa dancing. The most common pattern calls for moving the feet on six of those eight beats, said Guillermo Rivera-Pagan, who teaches Latin dancing at Bentley College, Brandeis University, and Bridgewater State College.

There are many ways to use those six steps: Add dips, turns, tango movements, hip-hop, freestyle. There is no limit.

``That's one of the beauties of this dance, as opposed to the waltz," Rivera-Pagan said. ``The waltz is done a certain way and that's it."

Generally, the step pattern is a back-and-forth that's based on the mambo. It's typically called a ``rock step" or a ``break step," which means you are taking the first step either forward or backward or to the side. The most common variations -- and the source of a fierce debate -- are the ``on one" and ``on two" dance styles. The basic moves are the same, with a twist. Stepping forward on the first of the eight-beat pattern is called ``breaking on one."

Stepping forward on the second of the eight-beat pattern is ``breaking on two," said Kelly Silfies , who teaches in the Boston-Cambridge area.

A casual observer would hardly notice the difference. But salseras (women who dance salsa) and salseros (anyone who dances salsa) can tell if you are from New York, Los Angeles, Puerto Rico, or Cuba based on when you break on those steps.

``There is a huge rivalry, and I don't get it," said Cristina Pujol, who dances with the Hips on Fire dance company, which offers lessons throughout the Boston area. ``It's just a different way of dancing. It's how you feel the music."

Salsa is a couple's dance: The man traditionally leads; the woman follows. And they embrace. Using his hands as a guide, the leader can take his partner through a simple routine or whip her across the room in dizzying steps. Always, she stays connected in his embrace, her gaze in his, her hands light and ready for his touch.

``When we all see it, the sexiness of it appeals to us," said Burju Hurturk, who, with her partner, Victor Perez, leads the Hacha y Machete dance company based in Lawrence. ``We are being led, and we get to be pretty."

The trick, instructors say, is to dance those basic steps with a partner while infusing a little flair and pizzazz.

``The hardest thing about partner dancing is dancing with a partner," said Rivera-Pagan. ``When two strangers meet on the dance floor, this is the toughest challenge."

Partners typically start in an embrace position, but not too close, the leader's left hand holding his partner's right. They mostly stay connected this way while dancing with the tempo of the music.

The leader ``tells" his partner what to do through signals such as gentle pressure on the hand to indicate a left or right turn, or whether to dance in place or travel forward while turning.

Whether your partner is a newcomer or an advanced beginner, local experts suggests some rules of the road, or of a crowded dance floor:

Stay within your dance space. Some people can be oblivious to their surroundings, sending their partners into moving targets, people, or poles. Plenty of women have hobbled off the dance floor because they were stepped on, elbowed, or hit in the eye.

Ladies, be mindful of your hair. ``Guys would really appreciate it if ladies with really long hair style it in a manner so they don't get whipped in the face," said Silfies.

Keep movements small. Bigger is not always better in a crowded club. Work your hips and torso instead of making gigantic movements when there are too many people around, Hurturk said.

Keep hands loose. Ladies, you don't want to grip your partner's hand, because it makes it difficult for him to move you.

Let your eyes and not your feet do the walking. Look at your partner and not at your feet. You can't connect with your partner if you are looking down.

Avoid suggestive dance: The dance is sensual, so ``you don't want to come across as too sexual," said Olaf Bleck, who runs salsaboston.com.

Don't be afraid of rejection, make yourself available for the dance.

Don't dance your partner, dance with your partner. Be mindful that everyone is not on the same level, so quickly assess your partner and determine whether to step it up or tone it down.

While learning the moves can be fun, Pujol said, some people get too bogged down in the steps and structure of the dance and are less focused on the art of lead and follow.

``I've had people say to me, I don't want to dance with her because she's a beginner," Pujol said. ``I always say, `Dance with her because you are a leader.' "

The flashier moves sometimes spill onto the dance floor -- and that can leave novices feeling a little out of sorts.

``I've had some Latino people say to me, `I can't go there because people make me feel like I can't dance,' " said Pujol.

Adds Johnny Giraldo, who teaches along with Silfies and on Fridays leads a throng of 300 or so people at Havana Nights at the Greek Club in Cambridge with his wife, Felicita , ``I always tell my students `You don't want to start into turns. You want to take your time and feel the music, feel your partner.' "

The bottom line is there is room on the dance floor for both the pros and novices .

``The reason people want to learn all this regimented stuff is because they want to dance better," said Bleck, who teaches a class called Salsa for Gringos.

To those still on the fence, you can't learn unless you dance.

``Try not to be self-conscious," Silfies said. ``It takes time to learn."

``People shouldn't worry so much and just go for it," Hurturk said. ``Occasionally I see a dancer with a rock star attitude who just want to dance with someone who makes them look good.

``But for the most part, everyone just wants to have a good time."

``There is a huge rivalry, and I don't get it," said Cristina Pujol, who dances with the Hips on Fire dance company, which offers lessons throughout the Boston area. ``It's just a different way of dancing. It's how you feel the music."

Salsa is a couple's dance: The man traditionally leads; the woman follows. And they embrace. Using his hands as a guide, the leader can take his partner through a simple routine or whip her across the room in dizzying steps. Always, she stays connected in his embrace, her gaze in his, her hands light and ready for his touch.

``When we all see it, the sexiness of it appeals to us," said Burju Hurturk, who, with her partner, Victor Perez, leads the Hacha y Machete dance company based in Lawrence. ``We are being led, and we get to be pretty."

The trick, instructors say, is to dance those basic steps with a partner while infusing a little flair and pizzazz.

``The hardest thing about partner dancing is dancing with a partner," said Rivera-Pagan. ``When two strangers meet on the dance floor, this is the toughest challenge."

Meghan Irons can be reached at mirons@globe.com.