The Vacila or Vacilala is one of the most enjoyable basic figures to dance in Cuban salsa (Casino), where the interaction between the man and the woman reaches its climax, but is often poorly taught in Latin dance schools.
Let’s explore together the characteristics of the Vacila, a move or figure accessible to beginners, its definition and meaning, how to perform it for the leader (here the man) and the follower (here the woman), along with some tips and tricks.
Definition of the Vacila
Its exact origin is not clearly documented, but since it developed in the streets of Havana, Cuba, where dancers improvise movements reflecting their daily life and experiences, it makes perfect sense…
Vacila comes from “vacilar,” which in Cuban slang means: to check out!
So in the case of dance partners where the man is the leader and the woman is the follower, the game involves the man checking out, observing, complimenting the woman, and the woman flaunting herself and teasing the man with her gaze during the movements of both partners.
The Vacila, therefore, has a strong meaning and is a true game between the dancers.
This seduction game, deeply ingrained in the real Vacila, is often not taught in dance schools and studios, which is very unfortunate because the move loses its soul and all of its charm.
You will hear Vacila or Vacilala in dance schools and around the world.
Steps of the Vacila in Cuban Salsa
Let’s assume the leader is a man and the follower is a woman.
The key points of this classic worldwide Cuban salsa figure are as follows:
Starting Position:
The partners are in an open position, in Guapea (curiously called “dilequesi” in some dance schools).
Launching the Turn:
The man holds the woman’s right hand in his left hand.
He moves it, then brings his hand back towards him in a circular motion, keeping the hand at the same level (around the belly button) to initiate the turn for the woman (it’s a real launching gesture). The hand is not up; it’s roughly at belly button level or just above.
There are several ways to execute the Vacila just before the woman’s turn:
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Some have her walk on 1 and launch her on 2.
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Others have her walk on 1-2 and launch her on 3.
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Some can launch her on 4 for a faster turn.
Follower’s Turn / Leader’s Movement:
The woman performs her turn (without moving like in the Sombrero) with the rhythm “quick-quick-slow (1-2-3 (4)), quick-quick-slow (5-6-7 (8))” and returns to the man’s right shoulder (a key code in Cuban salsa or Cuban casino).
While the man’s steps are often taught in dance schools as side steps, this is not the best way to move, and the magic of the Vacila is lost.
Instead, the man does what is called “voy y vengo” (go and return). On 1-2-3, he steps back and returns on 5-6-7. An Aguaje (styling for men) can be done on time 3.
This has the advantage of adjusting the return distance so the woman only needs to place her left hand on the man’s right shoulder without rushing or stepping back due to lack of time. A super useful tip!
The Game During the Turn:
As explained at the start of the article, the man checks out the woman, and the woman teases him and throws a glance at him. This is the moment of connection, eye contact, and showing style (even a wink is part of the game).
The woman’s “quick-quick-slow” turn allows her to look at the man on the “slow” during time 3-4.
In many dance schools, the woman or follower just spins and that’s it! What a pity, as the Vacila has a real story and a true game between the dance partners.
Return to Open Position:
After the woman’s turn and the man’s “voy y vengo,” she places her left hand on the man’s right shoulder, a dilequeno position (so in a closed position, with the partners having exchanged places).
After executing the dilequeno, you can return to an open position and resume Guapea.
Tips and Tricks to Perform the Vacila or Vacilala
Variations: The man can initiate the Vacila, not retrieve the dancer, and do some free dance (shine, styling, rumba, etc.), or keep his dancer on his right and do mambo steps on 8 beats, etc.
The woman can also perform the first part of her turn in one direction and then come back in the other direction.
Arm/Hand Position: As always, the arms are like resting on armrests for the woman, elbows slightly forward, arms always in front of her at sight (to protect the shoulder joints), hands within reach of the man.
Shine During the Turn: The woman can raise her arms above her head (with hands positioned as if holding a tray of cheese or seafood—your choice), as long as she no longer has the man in sight to avoid elbow bumps.
The man can perform an Aguaje (arm movement) on time 3 just before advancing to retrieve the woman. This is rarely taught in Latin dance schools, but it’s a very pleasant movement to perform (as the casinero Antoine Joly says: “it doesn’t serve a purpose, but it feels good!”).
Movement: The woman doesn’t turn in place; she walks forward, turns when the man signals her to, and then moves in a semicircle to turn in place (sliding on time 8) to be at the man’s right shoulder.
The man, as explained earlier, takes three steps back and three steps forward to retrieve his dance partner.
Practice and try to embody the Vacila, to play it. It’s a moment like being suspended, during which a real connection happens between the two dancers