Linear Partnerwork
01 · Term and function
What is Right Underarm Turn?
Guided right turn beneath a raised hand connection; the arm creates space for rotation without pulling on the head or arm.
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.
Right underarm turn
Linear Partnerwork
linear, on1, on2
on1, on2
03 · Technical execution
What matters in Right Underarm Turn
The Right Underarm Turn combines a right rotation with a raised hand connection and sufficient free space around the head and shoulder.
Direction and timing are communicated before the main turn begins. Suddenly circling the hand above the head does not create a clear lead.
The hand follows a calm arc at an appropriate height. The turning dancer's elbow and shoulder remain mobile.
The turning dancer carries and organizes personal body weight. Connection indicates rotational direction without pulling the person around by the arm.
After the right turn, the hand connection is lowered or changed only when balance and finishing orientation have been clearly re-established.
04 · Body knowledge
Body organization in Right Underarm Turn
The raised connection creates enough room for the right turn before the head and shoulder pass beneath the arm pathway.
The follow performs the turn through personal support organization. The hand indicates direction and space without pulling the arm.
Lead position leaves enough room so the right turn does not need to detour around the lead.
05 · For beginners
Build Right Underarm Turn clearly first
While standing calmly, check that hand height leaves the head and shoulder free.
Then add a slow right turn while the lead maintains only direction and hand space.
Does the follow's shoulder remain relaxed and the rotational axis independent from hand connection?
06 · Teaching and feedback
What to observe in a controlled Right Underarm Turn
Hand and lead position are clear of the rotational pathway before the turn begins.
The dancer is not pulled into the right direction through hand, elbow, or shoulder.
After completion, the hand returns to a neutral height that supports continuation.
07 · Continue learning
From Right Underarm Turn to related movements
The follow executes a right turn from a clear preparation and finishes with controlled re-establishment of the axis.
The lead rotates to the right within salsa timing, coordinating foot placement, spotting, and connection so partner communication remains available.
Guided left turn beneath a raised hand connection with a clear rotational pathway and uncompressed shoulder organization.
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 turns left from a prepared axis and completes the action with clearly settled weight on the intended foot.
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.