INTERMEDIATE modifiers

• … y dame (dos)
• … y quedate
• … doble
• … y al revés

ADVANCED modifiers

• … contratiempo
• llevala a …
• … la vecina
• … con Bamboleo

Rueda caminando modifiers

• … sin soltar
• … (y) vete
• … (y) cadeneta

Other combinations

• command combinations
• vocabulary combinations
• named combinations

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INTERMEDIATE modifiers

… y dame (dos)

= … and give me (two)

The most command use of this command is to change partner in a figure that does not contain a partner change, like ‘vacílala’. So instead of finishing the figure with ‘dile que no’ with your partner, leaders change to the next partner for ‘dile que no’.

It may also be used to change partner immediately after the figure, like ‘dame directo y dame dos’ or ‘ya tu sabes y dame’.

Combinations

• enchufla y dame dos
• vacílala y dame
• saca la vecina y dame
• ya tu sabes y dame, ya tu sabes y dame dos
• dame directo y dame dos

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… y quedate

= and stay

This command is used to avoid changing partner in cases where a partner change is common.

For example, ‘enchufla y quedate’ is an ‘enchufla’ without partner change, so you finish the figure with the same partner. Whether the figure finished with ‘dile que no’ or not depends on the figure. 

Combinations

• enchufla y quedate (video below)
• la prima y quedate (video below)
• familia y quédate (video below)

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enchufla y quedate

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la prima y quedate

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familia y quedate

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… doble

= double

This command is similar to the command ‘dos veces'(two times). With the command ‘… doble’ only the main/middle part is repeated.

For example, if you call ‘la prima dos veces’ (which is not common) there would logically be a ‘dile que no’ in the middle, while ‘la prima doble’ only have ‘dile que no’ at the end. See video below for ‘la prima doble’.

Combinations

• enchufla doble (video below)
• la prima doble (video below)
• la prima doble y quédate 
• saca la vecina doble 
• media doble 
• egoista doble

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enchufla doble

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la prima doble

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… y al revés

= and in reverse

This command reverses the figure it is connected to. First the figure is danced (for example ‘dame directo’), and then the same figure is reversed – going back to the previous partner.

Combinations

• a lo cortico > y al revés
• paseala y al revés
• enchufla con mambo > y al revés
• caminala > y al revés
• dame directo y al revés
• vacílala y al revés

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ADVANCED modifiers

… contratiempo

= counter rythm

When used in combination with a rueda figure, ‘contratiempo’ indicates that the figure should shift one beat in the rythm.

Combinations

• media contratiempo
• fly contratiempo
• una media y mujeres contratiempo
• Echeverria y media contratiempo

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… con Bamboleo

= with Bamboleo (name of a Cuban band)

The figure refers to the steps ‘pasos de los musicos’ that musicians do on stage, and Bamboleo is especially known for these steps.

Combinations

• cubanito con Bamboleo
• patin con Bamboleo
• patineta con Bamboleo
• patin pa’mujeres con Bamboleo
• mujeres al centro con Bamboleo
• enchufla con Bamboleo
• Bamboleo > dame

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llevala a …

= bring her to …

The idea behind this command is to bring the woman from one figure directly to another one, preferably without the ending (usually ‘dile que no’) of the first one, and without the start (‘enchufla’, ‘dile que sí’ or similar) of the next one.

Combinations

• Juana la cubana > llevala a abanico
• balsero > llevala a abanico
• amistad > llevala a Bayamo
• Tumba Francesa > llevala a cubanito / cubanita
• amistad > llevala a a lo cortico
• Juana la cubana > llevala a balsero
  

The key for this move is to find positions that are suitable for attaching two figures together, like the “sombrero position” (just before the ‘dile que no’), the “amistad position” (just before the ‘dile que no’), the hand-shake (like in ‘Tumba Francesa’), etc.

For example if the command is ‘Juana la cubana > llevala a abanico’, then the last ‘sombrero’ in ‘Juana la cubana’ counts as the initial ‘sombrero’ in ‘abanico’, and so the guys lead an ‘Juana la cubana’ with an ‘abanico’ ending.

… la vecina

= … the neighbour lady

La vecina is used in open position, and refers to the partner behind your back. For the men it refers to ‘la vecina’ (female) and for the ladies it refers to ‘el vecino’ (male).

One example of use is the basic figure ‘la prima’.
In stead of doing a regular ‘la prima‘ with your partner, the call could be ‘prima con la vecina’. The leaders then turn to the next partner to do this figure directly with her.
Another similar option is to call ‘dame > dame dos > prima con ella’. This figure itself is the same as ‘prima con la vecina’, but the partner is now referred to as ‘ella’ (= her) because she just became his partner, and hence is no longer the neighbour (la vecina).

Combinations

• saca la vecina (video below)
• prima con la vecina (video below)
• cero con la vecina
• vacuna la vecina

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saca la vecina

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prima con la vecina

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Rueda caminando modifiers

Some of the modifier commands will turn into rueda caminando figures. These commands are not specific figures, they are cammands to change other figures. So for videos it is a bit more work to present several examples og how the modifers may be used, but hare are the ones that we have made.

… sin soltar

= … without letting go

Combinations

• un tarro sin soltar
  (used in closed position)
• dame dos con Cuba sin soltar

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… y vete

= … and go 

The video is not ready yet, but the figure is easy to explain: In steda of doing a ‘dile que no’ at the end of the figure, you start walking with your partner counter clockwise (abajo direction), until an exit command is called.

Combinations

• sombrero y vete
• amistad y vete

The meaning would be the same if you call ‘… y camina’ (= and walk).

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… y cadeneta

= … and chain

The video is not ready yet, but the chain in this figure is the same as in Tumba Francesa which could actually be called using ‘enchufla y cadeneta’ > (wait until you pass the third new partner) > ‘se fue’.

In cadeneta there is no automatic exit, and it may also be started with various figures.

Combinations

• enchufla y cadeneta
• abanico y cadeneta
• la familia y cadeneta
• abanico y cadeneta p’arriba
  (cadeneta in arriba direction)
• engañala y cadeneta
  (cadeneta in arriba direction, but engañala is executed in arriba direction, so arriba is not called in this case)

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Other combinations

Command combinations

These are combinations that work well. However, anyone can find nice combinations. Just try!

• paseala > sacala
• sacala > puente
• sombrero > paseala por arriba (video below)
• Echeverria con vuelta y dame
• Echeverria y saborea
• camínala > un alarde
• dame con dos alardes y saborea
• americano y americana
• americano y un tarro
• paseala caminando > por arriba > al revés

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sombrero > paseala por arriba

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Vocabulary combinations

By vocabulary we refer to Spanish words that are commonly used in Rueda without being specific commands, like ‘tres veces’ (three times) or ‘vuelta’ (turn). You will find a list of common Rueda vocabulary on page 3 in the printout.

• vamos arriba > una vuelta
• dame por la mano
• fly > cógela
• Echeverria tres veces
• ni pa´ti ni pa´mi > pin pon
• Coca-Cola con puente y arriba
• una bulla!
• un giro
• el gordo > el flaco
• Tumba Francesa > cambia dirección
• mujeres al centro con mambo > recógela

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Named combinations

Some combinations are quite common, and too long to call separately, so they get their own name.

• espresso
  = dame directo > dame dos y una arriba
• manteca´o
  = enchufla y dame > la prima > dame una
• Isaura
  = enchufla y dame > dos arriba y una abajo
• el dos
  = cubanito > (2 x 8-counts) > sombrero
• Rico Suave 
  = vacílala y dame > ya tu sabes y una arriba

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