Casino Partner Figures
01 · Term and function
What is Prima?
Rueda/Casino figure in which the Lead circles around the Follow and passes under the joined-arm arch; in Rueda it typically resolves with a change to the next Follow and Dile que no.
a-tiempo, contratiempo
Lead, Follow
a tiempo · contratiempo
02 · Positions, timing and variants
Starting point, direction and variants
Timing, role context and spatial orientation are described separately. Names and execution details can vary across salsa styles, schools and regions.
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Casino Partner Figures
casino, rueda
a-tiempo, contratiempo
Note: Naming and exact sequencing may vary by region or school. This entry describes a widely encountered core idea and does not claim a worldwide rueda standard.
03 · Technical execution
What matters in Prima
In Prima, the Lead travels around the Follow. The Lead's own walking pathway is therefore an essential part of the figure and is not replaced by arm leading alone.
The joined arms form an arch beneath which the Lead passes. The pathway leaves sufficient height and shoulder freedom for both dancers.
The Follow retains controllable support and walking organization while the Lead travels around.
The hands accompany the position change without holding shoulder or elbow in a fixed overhead position.
In Rueda, the figure typically continues with a change to the next Follow and Dile que no. That exit begins only after the Prima passage itself is clearly completed.
04 · Body knowledge
Body organization in Prima
In Prima, lead and follow first come closer and change their relative positions. This distinguishes the figure from a simple free partner turn.
A core part of the figure has the lead passing beneath or through the connected arm space. Body pathway and hand height therefore work together without using the follow's arm as a rigid arch.
In Rueda, Prima may continue into a change to the next dancer. For the body mechanics, however, the essential elements are approach, position change, and free passage beneath connection; in pair dancing another controlled exit may follow.
05 · For beginners
Build Prima clearly first
Begin with only the approach, shared direction change, and the lead's passage beneath connection.
Raise the connected hand only enough for the lead's head and shoulder to travel freely underneath.
Can both dancers change position without pulling one another around through the arms or using connection for balance?
06 · Teaching and feedback
What to observe in a controlled Prima
The closer position develops through body pathways rather than pulling inward through the hands.
The lead can pass beneath the arm structure without pressing the head, neck, or shoulder into connection.
After the position change, weight and orientation are clear enough for either another pair figure or the Rueda function to continue.
07 · Continue learning
From Prima to related movements
Extension of Prima: the Prima opening initially remains with the same partner. Hermana then continues: Enchufla is danced with the same partner. In the common Rueda version, the partner change occurs only at the end of this Hermana phase; Dile que no is then completed with the new partner.
Alias entry for the same closed-position Casino base action as Adentro y afuera: rhythmic opening and closing of the couple space with elastic weight transfer. Regionally the name does not identify a uniquely different choreography.
Bayamo denotes a family of Casino figures with crossed two-hand connection and a Rodeo-Inverso-like circular pathway as a recurring core idea. Entries and exits vary; Sombrero is a possible but not defining resolution.
Coca-Cola can denote the Follow’s traveling left turn layered onto a Casino walking/Dile-que-no passage. The rotation is superimposed on continuing travel rather than performed as a stationary spot turn.
In common Casino versions, El Dedo combines a guided Follow right turn with Enchufla or a Follow left turn, a Lead right/outward turn, and Dile que no. Starting handhold varies; right-to-right is documented alongside other one-hand variations.
Fundamental Casino figure and common transition from closed to open position: the Follow passes the Lead on a curved walking pathway while the Lead opens space, and both finish oriented toward each other again.
The name Dile que sí is school-dependent. One couple variant uses a hand-held Vacílala from open position to bring the Follow back into closed or near-closed couple position.
Extended Sombrero figure using several successive two-hand and side-changing pathways. One common version begins with Sombrero, moves into a reverse-Sombrero-like return pathway, and then uses further turning and hand pathways before resolving with Dile que no.
A Casino shadow figure in which the Lead is in front of the Follow, back toward the Follow, and both walk/pivot in the same general direction before the connection is resolved.
Additional professional background
Book on learning, body knowledge and partner communication
The movement lexicon complements The Salsa Teaching Tree by Mathias Ellmann. The book connects movement, perception and partner communication with body knowledge, motivation, musicality and sustainable learning.
The Salsa Teaching Tree
A holistic orientation model for salsa learning and teaching that goes beyond collecting steps and figures and connects body organization, music, perception, decision-making and partner communication.
View The Salsa Teaching TreeConcept · Salsa knowledge · learning · partner communication
Mathias Ellmann
Mathias Ellmann develops the Salsa Movement Lexicon as a connection between dance technique, body knowledge, musicality, learning and partner communication.
Movement is not considered only in terms of which steps or figures are danced, but also how weight, timing, space, perception and connection interact.
Leading and following are treated as reciprocal communication: one person prepares movement possibilities and makes them perceptible, while the other responds through self-organized movement. Both roles remain perceptive, adaptive and autonomous.