Linear Partnerwork
01 · Term and function
What is Left Underarm Turn?
Guided left turn beneath a raised hand connection with a clear rotational pathway and uncompressed shoulder organization.
on1, on2
Lead, Follow
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.
Left underarm turn
Linear Partnerwork
linear, on1, on2
on1, on2
03 · Technical execution
What matters in Left Underarm Turn
The Left Underarm Turn combines a left rotation with a raised hand connection that creates sufficient space for the head and shoulder.
Turn direction is made readable before rotation begins. Simply lifting the hand does not replace clear turn preparation.
The connected hand travels in a controlled arc above or around the head area and remains reasonably close to the turning dancer's own axis.
The turning dancer generates rotation through steps and weight. The raised hand guides the pathway but does not pull the head, arm, or body through the turn.
The hand connection returns to a natural working height only after the rotation is sufficiently complete.
04 · Body knowledge
Body organization in Left Underarm Turn
Hand connection is lifted and positioned so the follow can turn left without forcing the shoulder or elbow toward end range.
The follow organizes feet, weight, and axis independently. The lead does not draw a large circle with the hand that pulls the dancer around.
The overhead position lasts only as long as required for the rotational pathway, then returns to a relaxed usable connection.
05 · For beginners
Build Left Underarm Turn clearly first
Raise connection only far enough for the head and shoulder to remain free underneath.
The follow then turns independently through that space while the hand position stays calm.
Can the follow turn left without lifting the shoulder or having to chase the hand?
06 · Teaching and feedback
What to observe in a controlled Left Underarm Turn
Connection provides sufficient space without being unnecessarily high or far outside.
The hand does not pull the dancer through the left turn.
After completion, connection lowers back into a usable partner range.
07 · Continue learning
From Left Underarm Turn to related movements
The follow turns left from a prepared axis and completes the action with clearly settled weight on the intended foot.
The lead rotates left, keeping rotational impulse small enough to preserve timing and partner relationship without over-turning.
Guided right turn beneath a raised hand connection; the arm creates space for rotation without pulling on the head or arm.
A turn whose rotation is briefly checked or redirected through clear lead information before continuing or resolving.
A copa structure resolved into an inward follower turn.
A copa structure resolved into an outward follower turn.
A cross body lead in which the follow performs an inside rotation while traveling and then returns to the shared line.
A cross body lead with an outward follower turn during the pass, maintaining the linear travel pathway.
The follow executes a right turn from a clear preparation and finishes with controlled re-establishment of the axis.
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.