Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially Cuba and Puerto Rico), Latin and North America. Salsa is danced to Salsa music. There is a strong African influence in the music and the dance.

Salsa is usually a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner. Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too.

The name "Salsa" is the Spanish word for sauce, connoting (in American Spanish) a spicy flavor. The Salsa aesthetic is more flirtatious and sensuous than its ancestor, Cuban Son. Salsa also suggests a "mixture" of ingredients, though this meaning is not found in most stories of the term's origin.

Salsa is danced on a core rhythm that lasts for two measures of four beats each. The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. This is not to say that the steps are always on beats 1, 2 and 3 of the measure. (See Styles below.) It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars.

Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 120 beats per minute to its fastest at around 180 beats per minute.

Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Traveling is not ruled out, but is more used in a staged salsa performance. In a social setting it is bad etiquette to occupy too much floor by traveling.

community had a vibrant musical and dancing scene throughout the '50s but found limited success with the 'Anglo' mainstream. In the 1970s, adoption of the term "Salsa" reduced the linguistic and cultural barriers to mainstream adoption of Latin music and dance.

The modernization of the Mambo in the 1950s was influential in shaping what would become salsa. There is debate as to whether the dance we call Salsa today originated in Cuba or Puerto Rico. Cuba's influence in North America was diminished after Castro's revolution and the ensuing trade embargo. New York's Latino community was largely Puerto-Rican. Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide.

According to the late David Melendez , one of the first organizers of the East Coast Salsa Congress and a salsa dancer in New York since the 1970s, the word 'Salsa' first referred to the music. The term was coined in the 1970s by young musicians like Hector Lavoe, Larry Harlow, Ray Baretto, Willie Colon, who wanted a different name for the kind of music they were playing. The term 'salsa' was then popularized by Izzy Sanabria, owner of the Latin New York magazine, and Jerry Massuci, owner of Fania Records.

The dance steps currently being danced to salsa music come from the son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changuí, Palo Monte, Rumba, Abakuá, Comparsa and some times even Mozambique. Solo salsa steps are called "Shines", a term taken from Tap dancing. It also integrates swing dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk, reggae, hip-hop and samba.

slowly, or in some styles a tap or kick is used. Notable exceptions to this timing are New York Mambo and Colombian styles, which begin the three step sequence on beat 2; and Cuban styles, which may start the sequence on any count.

The Break Step is important in most styles of salsa. It serves two functions. First, the break step occurs on the same beat each measure and allows the partners to establish a connection and a common ground regarding the timing and size of steps. Secondly the break step is used in an open break to build arm tension and allow certain steps to be led. On which beat the break step occurs is what distinguishes different Salsa styles.

On counts 1, 2, and 3, the leader steps forward, replaces, and steps in place. On count 5, 6, and 7, they step backwards, replace, and steps in place again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit.

There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude, dress code, and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced "On One" or one style may be danced "On One" or "On Two". The following are brief descriptions of major "recognizable" styles.

An essential element is the "Cuba step", where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat is not counted. The follower does the same, thereby mirroring the leader's movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other.

The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Rueda de Casino Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.

In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners.

L.A. style is danced on 1, in a slot. It is highly influenced by Hollywood and by the swing & mambo dances. L.A. style emphasizes sensuousness, theatricality, and acrobatics.

The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions.

Francisco Vazquez, along with his two brothers, Luis and Johnny, are often credited with developing the LA style of salsa. Francisco taught both of his brothers how to dance and all of them went on to become famous worldwide through their unique style of dancing. Francisco Vazquez, along with his brother Johnny, founded "Los Rumberos" Dance Company at the start of their career, which is still the leading dance company in Los Angeles. Luis Vazquez, along with then Joby Vazquez (now Joby Martinez) founded Salsa Brava Dance Company, which was another leading dance company in Los Angeles for many years.

Other people who also helped create L.A. Style as we know it are, Rogelio Moreno, Alex Da Silva, Joby Martinez, Josie Neglia, Cristian Oviedo, Luis 'Zonik' Aguilar and many others. Tony Cordero and Robert Menache helped spread the influence of the LA style to Long Beach and Orange County.

New York style emphasises efficiency of movement, elegance, and body isolations. By focusing on control, timing, and precision of technique, dancers aim for smooth execution of tightly woven complex patterns. In New York City this style is danced strictly On 2, although dancers around the world often integrate elements and repertoire from New York into their dancing On 1.

On 2 timing emphasises the conga drum's tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocate of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music.

Many also refer to this style as "Mambo" since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name.

In a social setting, New York style is danced more compactly than LA style. The etiquette of New York style is strict about remaining in the "slot" and avoiding traveling.
New York style tends to place a greater emphasis on performing "shines" where dancers separate and dance solo for a time.

New York style dancers are typically very serious about the musicality and timing of their dancing. To satisfy their tastes, "socials" are often held that cater to almost exclusively playing "salsa dura" (or "Hard Salsa"). This is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather than the vocals.

The longest-running social in New York is the Jimmy Anton social, which is held every first, third and fifth (if there is a fifth) Sunday of the month.

New York Style's first and most famous champion is popularly held to be Eddie Torres. Eddie Torres has been dancing since 1962 and has been teaching since 1970. Countless figures in the salsa scene have performed with the Eddie Torres dancers, such as Seaon Bristol (a.k.a. Seaon Stylist), Amanda Estilo, Eric Baez, April Genovese de la Rosa, Jai Catalano and many more.

Other important figures in the On2 style are Frankie Martinez, Ismael Otero, Tomas Guererro, Osmar Perrones, Griselle Ponce, Milo, Ana and Joel Masacote, and many others.

While the New York style is the predominant style found in the eastern United States, the style finds favor with professional salsa dancers and salsa teachers the world over. Thus, it can be seen at salsa congresses all around the world.

Venezolana Style Salsa is the style danced in Venezuela and Dominicana.

The following are all characteristics of the Venezolana style:
-The style has a basic step - Cumbia step
-Dancing carries out steps in beat salsa(1+2+3+pause)
-Style has expressed impulse
-Movement as turns and all dance are carried out on a circular trajectory
-Movements sharp and effective (in comparison with Salsa Casino)
-There is tap with 1 and 5 steps
-The majority of movements and turns are carried out by "scrolling", instead of step-by-step (unlike Salsa Casino)
-The minus of style consists that if even one of your partners does the slightest mistake at turn, it is very strongly noticeable and forces down all dance
-The minus consists that the quantity of turns is much less in comparison with Salsa Casino and Salsa LA

Colombian Style Salsa is the style danced in South and Central America. In the Colombian style basic-step, partners dance side-to-side and mirror each other's movements. In Colombian style, the break is on the three and the "spare beat" is always used for a tap or other embellishment.

Colombian Style can be danced not only to Salsa music, but also to Cumbia music which is frequently played in Latin nightclubs.

In advanced Colombian style, danced for example in Cali, the upper body is kept still, poised, and relaxed while executing endless intricacies in the feet.

This style is especially appropriate on packed nightclub dance floors where space is limited. Most of the steps danced during the Merengue, another Latin dance which is popular in Salsa clubs, have been carried over from Colombian style Salsa.

It is said that Colombian salsa evolved during the big band swing era, when swing dance steps were danced to Cumbia music. Cumbia was traditionally danced in folkloric ensembles without holding one's partner.

This style is similar to Los-Angeles style, but it instead begins on the second beat of the measure, rather than the first. The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6. This style is taught by Razz M'Tazz dance company of New York, whose director, Angel Rodriguez, coined the term "Power 2."

It is important to note that although this style is also known as dancing "En Clave", the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure, where a clave beat in 2-3 starts.

This style can be danced as "On One" or "On Two". When danced "On Two", the leader steps forward with the left foot on count 2. The basic continues like the New York basic with the timing rotated 4 beats.

There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform. The first Salsa Congress in Puerto Rico was in 1997.

It is a version salsa which actually is discothec-version of social dance. Its difference from other kinds consists that it is, as they say, "a rattling mix ". In Salsa Disco there are moves from Salsa Los Angeles-style, Puerto-Rico style, Casino etc. Here can be present the expressed tap which is characteristic for the Venezuela style, also tricks and elements of an acrobatic rock-and-roll which are inadmissible in original Salsa Cubana.

It is that kind of Salsa which you can see in discos of cities 80-90 % under the name salsa. And only 10-20 % really dance pure salsa styles which is quite passionate, strongly pronounced and unforgettable.

Incorporating styling techniques into any style of salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. There are lessons dedicated to the art of salsa styling. Hip hop, jazz, flamenco, belly dancing, ballroom, break-dancing/pop and rock, Afro Cuban styles, and Bhangra have all been infused into the art of styling.

Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate. They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their "moment to shine". On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called 'shines'.