Shines & Footwork
01 · Term and function
What is Suzy Q?
Crossing solo-footwork element in which one foot crosses in front of the other and heel-toe orientation supports the rhythmic direction change.
on1, on2
Solo
On1 · On2
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.
Suzie Q
Shines & Footwork
solo, shines
on1, on2
Note: Shine names are not fully standardized across salsa communities; the movement logic described here is the primary reference.
03 · Technical execution
What matters in Suzy Q
The Suzy Q uses repeated cross steps in front of the body while rhythmically changing lateral orientation.
Each weighted cross clearly accepts body weight so the other foot becomes available for the next action.
Depending on the variation, swivels and heel or toe orientations support the directional change. Feet and knees follow the same rotational logic.
The feet remain relatively close together. Excessively large crosses make quick uncrossing and repeated changes to the other side harder.
Suzy Q is danced in salsa both On1 and On2 and in numerous rhythmic extensions. Its technical identity lies in the alternating crossing pattern rather than one universal count sequence.
04 · Body knowledge
Body organization in Suzy Q
Suzy Q combines repeated crossing actions in front of the body with rhythmic changes of foot orientation. Execution and timing can vary by variation.
A weighted cross step accepts body weight so the other foot becomes available for the following action.
Swivel, heel, and toe orientations are organized so foot and knee do not twist against one another.
05 · For beginners
Build Suzy Q clearly first
Begin with alternating crossing and opening using small steps before adding stronger swivel or foot-rotation accents.
Then introduce only as much foot rotation as knees and ankles can follow in control.
On every cross, is it clear which foot supports you, and can you change to the other side immediately without locking the knees?
06 · Teaching and feedback
What to observe in a controlled Suzy Q
Repeated crossing organization remains clearly readable even with added styling and rotation.
Weighted cross steps reliably free the opposite foot.
Foot, knee, and pelvic orientation work together without visible counter-twisting at the knee.
07 · Continue learning
From Suzy Q to related movements
Suzy Q variation with clear lateral or diagonal travel rather than an almost stationary execution.
Solo step in which one foot crosses behind the other, creating a compact preparation for direction change or turn.
Relaxed groove-oriented solo step with pronounced knee, hip, and upper-body response to the musical pulse.
Solo step in which one foot crosses in front of the other, preparing a new lateral or diagonal direction.
Lateral sequence of side step, cross, and side step that travels continuously through space.
Footwork pattern combining heel and toe contacts rhythmically while keeping body weight controlled over the base.
Cross step behind or in front of the standing leg followed by a weight transfer, often used to connect shines or turns.
Three-part action of kick, brief ball-of-foot weight transfer, and change to the other foot, often used syncopated.
Forward or backward break with a clear return to the original foot, used as a rhythmic solo element in salsa.
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.