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[Transcript] Senator Munsen's take on Government Communicators - Fall 2005

Thank you very much for inviting me to speak today.

Je suis très content de me trouver parmi un groupe de communicateurs. Je me sens solidaire avec vous et le travail que vous faites. Il est certain que travailler dans les communications au sein du gouvernement du Canada n’est pas une chose facile.

I tried to think how government communications was different from other communications. It’s not. Good communications is good communications.

But it’s also true that communications is one of those areas of work where you don’t always know that it’s good when it’s good, but when it’s bad, you certainly know it. And you can bet that everyone else will know it too and inform you of the fact.

When you look at good communications – government or no government -- it’s pretty simple: you have to get your message out and get your message understood. It’s not rocket science.

But I think we can agree that in government getting your message out and getting it understood is no simple task.

Il y a plusieurs facteurs qui nous empêchent de bien faire notre travail.

First, communications are often considered as an after-thought to more important work. Second, our experience and knowledge as communicators are not valued as they should be. Third, we are subject to approval processes that can render our communication product irrelevant by the time it eventually goes out. And finally, the many layers of changes we have to make sometimes mean we have a product that is either incomprehensible or so very abstract that it doesn’t strike a chord with the average Canadian.

Permit me to share what I imagine when I think a day in the life of your average every-day government communicator might be like.

There you are, in your cubicle, updating the department’s website while you’re waiting for the third round of edits and comments from senior staff on the employee newsletter, which, naturally, are overdue.

Meanwhile, somewhere else in the department, someone is developing a new program, initiative, strategy, whatever. Really smart people – colleagues of yours – are working on it.

They are perhaps policy wonks with many extra letters following their names on their business cards.

Someone decides that this new program, initiative, strategy, whatever, is going to change the world and we need to let everyone know about it.

You get an e-mail inviting you to a meeting about the new program, initiative, strategy, whatever, and you’re told that you’re in charge of getting the message out. “So-and-so from policy will give you the background material for a press release.” So you happily abandon the website and the employee newsletter and get to work.

You write a snappy, one-page press release with active verbs and short sentences and send it up the line for approval. You drum your fingers on your desk waiting for feedback looking anxiously at the calendar as the date for the launch of the new program, initiative, strategy, whatever starts to loom. The translator has called twice asking for the text, but you stall for time waiting for approvals.

Finally it comes back to you and it is now two and a half pages long.

Your 20-word sentences have been extended and convoluted with semi-colons and commas.

Your short declarative sentences have been replaced with the passive voice and you don’t even understand some of the points that have been added. But you don’t have time to follow up because the translator really needs the text and the Deputy Minister has to see it one more time before it goes to the Minister’s office. Unfortunately, the DM is on a retreat and won’t be available until tomorrow morning.

At long last the press release goes out, but not until 5:00 pm the day before the launch of the program, initiative, strategy, whatever, and you happen to know that all the media are at the Martini Ranch where you would dearly love to be if only you didn’t have to get this darn press release out.

So then the event occurs and media don’t cover it and polling shows a week later that Canadians are completely unaware of any new program, initiative, strategy, whatever although 23% recall some kind of similar program that didn’t work five years ago and wonder why it’s being revived.

The Minister is angry. Her Director of Communications is REALLY angry. The annoyance at the top gets magnified as it works its way through the layers of Deputy, ADM, DG, and Director. And guess who gets burned? You, of course! It’s all of a sudden a “communications problem”.

Does any of this sound familiar? I think it might. For some reason, many organizations consider communications to be the equivalent of packaging at the end of an assembly line, something that is added on after all the serious work has been done.

Trop souvent, les communicateurs sont considérés comme des techniciens qui doivent arriver pour emballer un produit au lieu de contribuer à son développement.

Well, I can tell you that communications is serious work and to succeed, you have to be in on the development of the program, initiative, strategy, whatever.

Communications must be integrated into the core work of any organization.

Why is this?

Because good communications people are curious generalists who will ask the same questions regular citizens will ask when you are ready to roll out your program, initiative, strategy, whatever. By knowing the answers to these questions ahead of time you will have a better program, initiative, strategy, whatever, and you will be ready for the public’s reaction when you roll it out.

Now this kind of inclusion works both ways. Communications people also have to consult policy people.

They will act as a bridge between the media and the deepest and best source of information.

When I was in the former Prime Minister’s Office I was pleased at our success rate in getting our message out and I think one of the reasons was that I helped create a relationship – a comfort zone – between the media and the policy people at PMO. If you bring a journalist into a room with an expert, you will build not only a relationship, but also trust between your organization – not just you – and the media.

After all, a good communications person facilitates and encourages everyone in the organization to communicate.

As you establish trust and credibility with the media, maybe, just maybe, your department may benefit from a balanced story. You will also strengthen your team by having knowledgeable people on hand who are comfortable in front of a tape recorder and a microphone.

So rule number one for good government communications: Communications people need to be in the room when the policy work is going on. La bonne communication est un travail d’équipe.

Now time is a huge factor when it comes to getting your message out and understood.

It is a fact in this business that a less than perfect message that goes out at the right time is better than the perfect message that gets out too late.

Too often in government, press releases, speeches, and backgrounders are subject to such a thorough review by every policy person in the shop plus the Directors, DGs, ADMs, their various and sundry assistants, and whoever else gets to see the text.

I’ve discovered that a common characteristic in government is the inability to read a text without a red pen.

No one seems capable of reading a text, checking the facts, and letting the communications people worry about the messaging. Everyone is a wannabe communications expert who fiddles with the text until it is twice as long as it needs to be with way too many semi colons and commas.

Now don’t get me wrong.

I have the greatest respect for economists, political scientists, brain surgeons, artists, whoever, but I don’t tell them how to do their job, so when they try and tell me how to do my job, I listen respectfully and then ignore them…

So, rule number 2 in government communications: Trust the communications people and get out of their way.

Now I suppose I should say a few words about why I think people in government DO get in the way of good communications. Actually I don’t need a few words. One word will do to describe the phenomena: fear.

Often in government we block good communications because we are afraid of the message. As I said earlier, a good communicator is a curious generalist who will ask a lot of questions.

Then the good communicator will distill the information and simplify it so that it will be understood and remembered by the greatest number of people. William Butler Yeats, the Irish poet said, “Think like a wise man but communicate in the language of the people.” Some people say it’s condescending to do that -- that clear and simple messaging is “dumbing down the message”. It’s not.

It’s called accessibility. Just like ramps on curbs help people with wheelchairs to participate fully in society, simple, accessible messaging ensures that the greatest number of people get the message, not just the smart, educated ones who care about government of Canada policy.

And guess what? Smart, educated people like clear, simple messages too. We all deserve to be informed.

So rule number three of good communications: Simple is good. Don’t be afraid of clear, simple messages. They are your friends. If the simple message scares you or the policy people, it probably means that you have more work to do on the policy. You need to go back to the board room and re-think your program, initiative, strategy, whatever.

Alors voilà. Trois simples règles pour les bonnes communications.

Bien sûr, il y a d’autres règles, mais je veux suivre mes propres directives et laisser les choses simples.

So there you have it: three rules for good communications:

• get your communications and policy people in the same room
• let communications people do their job
• don’t be afraid of simplicity.

So what should you look for in a good communicator? As I said, they are curious generalists. They are usually optimistic people who like other people.

They enjoy being part of a team and are good listeners, respectful of the people you are trying to reach and the questions and concerns they might have.

They are good at building relationships within the organization and with the media. Because of my experience as a journalist, when I was Director of Communications in Jean Chrétien’s Prime Minister’s Office, we ran the press office like a newsroom. We worked at establishing good relationships with journalists. This type of relationship not only makes our work more fun, but it also makes our job easier to do.

Too many people in government see the media as the enemy. Don’t be afraid of the media. They are doing their job just like you. If you work with them and make their job easier with regular and timely updates and a professional demeanor, you will do much to help your organization. This is especially true in the case of crisis communications.

Now that I am no longer a journalist, I have to confess that I wish I had known then what kind of power I wielded. So many people in government see media as the adversary to be avoided or to be manipulated. I had no idea.

Mais si vous suivez les trois règles simples, cela veut dire que tout le monde dans votre ministère va appuyer un simple message. C’est un message clair et simple que tout le monde peut comprendre.

When you provide the media with a simple message that everyone in your department understands, your chances of getting accurate coverage increase. Canadians will get the message and then, as my son Claude-Mathieu would say, “It’s all good.”

Now that I am in the Senate I have my own communications challenges to face.

Too many people, and I was one of them long ago, dismiss as irrelevant the work that Senators do. What a mistake!

It will soon be two years that I’ve been in the Senate and I am continually impressed by the hard work and dedication of my colleagues here. A word to the wise: if you are briefing someone to appear before a Senate Committee, make sure they are well-prepared, because it is not a cake walk.

Senators bring to this Chamber a wealth of professional experience, as well as a commitment to ensuring that regional concerns are taken into account.

We are committed to playing our part in the parliamentary system and asking tough questions when we have to. I haven’t seen a rubber stamp in the almost two years I’ve been here.

In addition to our legislative role, Senators take on issues and initiatives that are close to their hearts. I know that for me, the last two years have been so rewarding because I have been able to work on behalf of children and sport, through SOS Children’s Villages, Child and Youth Friendly Ottawa, efforts to help families with children with autism, and as Ambassador for the Special Olympics.

In this work, I am able to combine my life passions with my experiences as a journalist and communicator to help make a difference.

The truth is that my career in communications has allowed me to travel the world and meet and work with leaders and other extraordinary individuals. It’s the perfect profession for someone with curiosity: someone who likes people and isn’t afraid to care about them and tell a story they need, or want, to hear. Because at the end of the day, that’s what our job is about, telling a story.

I do believe that communications makes a difference and that our work is under-valued by too many people. As I said, communications is considered by many to be the packaging that is added at the end of the assembly line: superficial and expendable. And that’s when things are going well. If things go badly, well, all of a sudden a bad policy or a misstep by a leader becomes a “communications problem.”

That’s why, as a communicator, you have to fight to have your seat at the table, to be part of the design and development teams of the programs, initiatives, strategies, whatever. And that’s why you have to care.

Good communications is about making a connection so that people care about, and become engaged in, the world around them.

And speaking of the world around you, what are the things that matter the most? My message has been directed toward communications as a profession, but if we want to take communicating to a level that really matters, then let's think of our own private world: our families and friends.

This is where your special art of communications really begins.

Nous devons nous arrêter et employer nos habilités en tant que communicateurs pour quelque chose de plus important. Nous devons penser à nos communautés, à nos voisins, et à nos familles.

The key here is to always give back to a society and a family which has been good to you. Whether it is a charity, a child’s sport, a church group or that person you see on the street with no family. Just listening is an extremely effective form of communication.

My philosophy is and always has been... if I helped one person with anything, once a day......... then that day was worth it.

For each and every one of us our daily personal challenge is to build and make our relationships stronger, to bring creativity and energy to our teams. It’s about “being in the room.”

That’s much more than packaging, ladies and gentlemen. It’s very important work. Don’t let anyone tell you different. Good luck and thank you for having me.

Merci tout le monde! Au revoir et bonne chance!

Rueda Figures ... TROPICASINO RUEDA SYLLABUS

BASIC 1	BASIC 2	BASIC 3
Pa’el Medio Pa’Abajo Exhíbela Doble Dile Que No Guapea Dame; Dame Una, Dos, Tres, Otra Dame de Mentira Vacilala	Vacilala Doble Vacilense Enchufla Enchufla Doble Festival de Enchufla Pelota con Dos Kentucky El Dos	El Uno Sombrero Setenta Dedo Montaña Rusa Enchufla al Centro con Dos La Flor Gancho

INTERMEDIATE 1	INTERMEDIATE 2	INTERMEDIATE 3
Hombres Derecha Mujeres Izquierda Treinta y Tres Dame y no le Llegue Tiempo España Tarrito Tarrito de Mentira Pa’lente/Pa’tras	Dame con Estilo Dame Dos con la Mano El Tren Suena Suena con Bulla Adiós Enchufla Doble Pa'Arriba Deja Una	Siete Siete con Coca-Cola Dame con Coca-Cola Enchufla de Mentira Enchufla con Estilo Doce Dedo Saboreado Abanico

ADVANCED 1	ADVANCED 2	ADVANCED 3
Paseala Paseala por Arriba Dedo Complicado Noventa Dedo Guarapo y Bóta Besito Zero Ocho	Siete Loco Siete Loco Complicado

LIST OF RUEDA FIGURES

Abanico Adiós Besito Club Taco Coca-Cola Coca-Cola por Abajo Dame (Dame Una, Dos, Tres, Otra) Dame con Coca-Cola Dame con Estilo Dame de Mentira Dame Dos con los Manos Dame y no le Llegue Dedo Dedo Guarapo y Bóta Dedo Saboreado Deja Una Dile Que No Doce El Dos El Tren El Uno

Enchufla Enchufla al Centro con Dos Enchufla con Estilo Enchufla de Mentira Enchufla Doble Enchufla Doble Pa'Arriba Exhibela Doble Festival de Enchufla Gancho Guapea Guarapo y Bota Hombres Derecha Juana la Cubana Kentucky La Flor Montaña Rusa Mujeres Izquierda Noventa Ocho Pa’Abajo Pa’el Medio Pa’lente/Pa’tras

Paseala Paseala por Arriba Pelota con Dos Setenta Setenta Complicado Sharp Dile Que No see: Doce Enchufla Doble Pa’Arriba Siete con Coca-Cola) Siete Siete con Coca-Cola Siete Loco Siete Loco Complicado Sombrero Suena Suena con Bulla Tiempo España Tarrito Tarrito de Mentira Treinta y Tres Vacilala Vacilala Doble Vacilense Zero

TERMINOLOGY

DQN Dile Que No	F foot	fwd forward	c/t closes to
CCW Counterclockwise	H hand	bwd backward	u/a underarm
CP Closed Position	L left	btwn between	o/p outside partner
OP Open Position	R right	sl slightly	p/o partner outside
RSP Right-Side Position	diag diagonally		i/p in place
LSP Left-Side Position			f/a forward & across
			b/a back & across

Single Handholds: LR, LL, RR, RL. Man’s hand shown first, then Lady’s.

Double Handhold: LR–RL

Crossed Handholds: LL/RR, RR/LL. Handhold on top given first.

CBM: Contra Body Movement by rotating body (not legs or foot) starting during preceding step, to initiate a turn.

CBMP: Contra Body Movement Position): Foot held slightly in front of the turning foot

LSP: Left-side position

RSP: Right-side position

Arriba: Clockwise

Abajo: Counterclockwise

DESCRIPTIONS of FIGURES

Abanico

Fan. Hand sign: Fan face with hand

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Sombrero	RF fwd on 7, release LH, lead Lady R	Sombrero	Begin moving back and turning R
1–7	Abanico	Curve 3/8 R to face CCW, then Gancho	Abanico	Curve back 3/8 R, then swivel turn
1–7		Lead Lady into Enchufla	Enchufla

Notes

1.

Adiós

Goodbye. Hand sign: Wave goodbye with hand

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1	LF back		RF back
2	RF in place		LF in place
3	LF fwd	RH on Lady’s waist, turn 1/2 R with Lady	RF sl fwd	LH on Man’s shoulder, turn 1/2 R
567	Enchufla	RF x/b LF on 5, then fwd u/a to next Lady	Enchufla

Notes

1.

Besito

Kiss. Hand sign: Kiss

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Open Break	RR, start to lead Lady’s 1 1/2 turn R	1 1/2 turn R	Sl fwd on 3, starting turn
567	Step i/p	Turn to place Lady in LSP		1 1/2 turns R, behind Man into LSP,
123	Alarde	Turn torso R on 8	Bwd Break
567	Step i/p	Hook turn to R to face Lady	Step i/p	!/4 turn R
1–7	Enchufla		Enchufla
1–7	Sombrero		Sombrero

Notes

1.

Club Taco

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Paseala	But on 3, keep LR down, RR on 7	Paseala	RH down, RR on 7
1–7	Paseala	LL on 3, Lead Lady’s Pepsi-Cola on 567	Paseala	Back, f/a, fwd, LL/RR into Pepsi-Cola
1–7	Sombrero	Lead Lady Switch Turn, then 1/12 turn R	Sombrero	1/2 turn L, & 1 1/2 turn R, travelling
1–7	Sombrero		Sombrero

Notes

1.

Coca-Cola

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	DQN	RH on Lady’s back	DQN
5	Coca-Cola	LH on Lady’s R shldr/RH to waist	Coca-Cola	LF fwd
6		Lead Lady’s L Turn, RH on back		Lturn on RF
7		Take LR hold, RH on Lady’s back		End facing away form Man, LF sl fwd

Notes

1.

Coca-Cola por Arriba

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Coca-Cola	LH on Lady’s back and facing Centre on 7	Coca-Cola	1 1/2 turns L to end facing Rim on 7
1	LF sl fwd	Leading Lady L, release LH from Lady	RF fwd	Turning 1/4 L & stepping fwd
2	RF b/a	Turning 1/8 R	LF fwd
3	LF c/t RF	RH on Lady’s back	RF fwd	End with Copa action to face Centre
567	DQN	Finish with DQN ending	DQN	Complete DQN

Notes

1.

Dame

(Dame Una, Dos, Tres; Otra) Give Me One (Give Me One, Two, Three; Another). Hand sign: Beckon with one or more fingers

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Guapea	Push RL on 5, step 3/8 R on 7 to face Lady	Guapea	3/8 L on 567, body 1/2 L face Man
1–7	DQN		DQN

Notes

1.

Dame con Coca-Cola

Give Me One with Coca-Cola

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Coca-Cola	End facing centre	Coca-Cola
123	Guapea	Modified: LF back, RF i/p, LF clt RF	RLR	1/2 turn L
567		RF back, LF i/p, RF side to new Lady	LRL	1/2 turn L to new Man

Notes

1.

Dame con Estilo

Give Me One with Panache

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	DQN	RF side on 7 pointing L shoulder into centre	DQN	1 turn L btwb 5-7 to face new Man
1	LF sl fwd	1/8 turn L	DQN
2	RF sl fwd	5/8 turn L, RH to Lady’s back
3	LF c/t RF	DQN poise, face centre, wt back to LF
567	DQN		DQN

Notes

1.

Dame de Mentira

Give me a Fake

On 7 of Guapea, Man points to Lady, she points at him. Man continues DQN, to return to is partner.

Dame Dos con los Manos

Two Dames with the Hands

If in Guapea, step to new Lady on 7, or, if in the circle, take, or keep holding her RH. Step diag fwd on 1 2 and take LR on 3, DQN poise. Lead Lady across in DQN on 567. Stay connected with hands as long as possible. Call for one Dame with the Hand is Dame con la Mano.

Dame y no le Llegue

Give Me One and Don't Arrive

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Right Turn	Right Turn	Bwd Basic	RF fwd on 3 to centre,
567	Bwd Break	To DQN poise	Fwd Basic	LF fwd 1/4 L, RFside, LF back to rim
123	DQN	Pick up original Lady	DQN	RF back, 1/4 L to face Man btwn 1 2

Notes

1.

Dedo

The Finger. Hand sign: Baby finger up

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Open Break	Lead Lady’s 1 1/2 turns R; RR	1 1/2 R Turn	Travelling 1 1/2 turns R face Man
1–7	Open Break	Lead Lady’s Enchufla, then Gancho	Enchufla
1–7	Open Break	Lead Lady’s Enchufla	Enchufla

Notes

1.

Dedo Guarapo y Bóta

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Open Break	RR, lead Lady’s 1 1/2 turn R		Sl fwd on 3, start turning body
5	RF back	Turn torso sl R	1 1/2 R Turn	Travelling 1 1/2 turns,
6	LF i/p	Start turning L
7	RF fwd	1/4 L turn, into LSP, RR on R shldr, LH on waist		into LSP
1	LF back	Turn torso R, start leading Lady’s curving turn	RF fwd	Fwd curving walk
2	RF f/a	1/2 turn R btwn 2 3, place RH on L shoulder	LF fwd	turning 1/4 L
3	LF fwd	Take Lady’s RH with LH	RF fwd	btwn 1 & 3
567	DQN	Walk fwd u/a to new Lady	Fwd Walk	Walk fwd, to new Man

Notes

1.

Dedo Saboreado

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Open Break	Lead Lady’s 1 1/2 R Turn, RR	1 1/2 R Turn	Travelling 1 1/2 turns R face Man
1–7	Open Break	Lead Lady’s Enchufla, then Gancho	Enchufla
1–7	El Uno	Stepping fwd on 7 under raised RR	El Uno
1–7	R turn	1 1/4 turns R to face Lady, then Gancho	Fwd Break	1/2 turn R
1–7	Open Break	Lead Lady’s Exhibela, release RR	Exhibela
1–7	Open Break	Take LR hold, lead Lady’s Exhibela	Exhibela

Notes

1.

Deja Una

Skip One

A Dame, but pass first Lady, keeping to rim of circle, going to the new Lady. Take long steps on 7 and 1, reaching on 2, in place on 3 to complete DQN with the usual footwork on 567

Dile Que No

Tell Her No Hand Signal: Wave Hand with one finger up

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1	LF fwd	Take Lady’s RH	RF back
2	RF in place		LF in place
3	LF c/t RF	1/4 turn L btwn 2 3, lead Lady sl fwd	RF sl fwd
5	RF back	Lead Lady fwd	LF fwd
6	LF in place	1/4 turn L	RF fwd sl L	Snap into 1/2 turn L, btwn 6 7
7	RF c/t LF	Take Lady’s RH in LH	LF c/t RF

Notes

1.

Doce

Twelve (1 plus 2; Uno plus Dos)

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	El Uno		El Uno	Lady at right angle to the Man
1–7	El Uno–Dos	Release RR, RF front of Lady on 7, then take RH-RH, at right angle to Lady
1–7	El Dos		El Dos
1–7	Open Break	Lead Lady’s Enchufla. Gancho on 567	El Dos	Enchufla
1–7	DQN	Lead Pepsi-Cola	Pepsi-Cola	1 1/2 L on 6, face away from Man
1–7	Sharp DQN	LF fwd 1/4 L, RF fwd 1/2 L, LF side, DQN poise	DQN	1/4 turn L with Copa action on 3

Notes

1.

El Dos

The Two. Hand sign: Two fingers up at face level

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Enchufla	Release LR and take RL on 8	Enchufla	Release LR and take RL on 8
567	Back Break	Man in front, 1/2 R turn into Hammerlock	Bwd Break	Man in front & R angles to Lady
1–7	Back Break	1/2 turn L& R into Man’s Hammerlock	Back Break	Man in front & R angles to Lady
123	Bwd Break	Lead Lady’s Enchufla	Bwd Break	Enchufla
567	Gancho		Bwd Break	Bwd Break

Notes

1.

El Tren

The Train

Step	Man	Lady
#	Footwork, Action & Amount of Turn	Footwork, Action & Amount of Turn
123	Lead Lady’s Enchufla, Lady now backs Centre, arms uncrossed
567	Man’s Echufla, returning Lady to original position facing Centre and Man backs Centre, arms crossed
123	Lead Lady’s Enchufla, return to original position facing Centre. Lady backs Centre, arms uncrossed
567	Man’s Echufla, returning Lady to original position facing Centre and Man backs Centre, arms crossed

Notes

1.

El Uno

The One. Hand sign: One finger up at face level

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Back Break	Lead Lady’s R then L Hammerlock	RF sl fwd	1/2 turns L&R, at R angle to Man
1–7	Back Break	Lead Lady’s R then L Hammerlock	Bwd Break	1/2 turn R&L, at R angle to Man
123	Back Break	Lead Lady’s R Hammerlock	Bwd Break	1/2 turn L, at R angle to Man
567	Back Break	Raise RR over head, then to waist	Bwd Break	1/2 turn R, raise RR over head
1–7	Sombrero		Sombrero

Notes

1.

Enchufla

Connect. Hand sign: Closed fist up, arm pumps up and down

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1	LF back		RF back
2	RF in place	Raise L arm sl R to begin lead Lady’s turn	LF in place
3	LF sl fwd	1/2 turn R btwn 2 & 3	RF fwd	Snap into 1/2 turn R
5	RF sl back		LF sl back
6	LF fwd	Changing LR to RL hold as passing Lady	RF f/a
7	RF fwd	R arm reaching for new Lady’s back	LF c/t RF

Notes

1.

Enchufla al Centro con Dos

Connect at the Centre With Two Claps

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Enchufla		Enchufla
567	Bwd Break	1/4 turn L, RF fwd to Centre on 7	Bwd Break	LF fwd, 3/8 turn R to face Centre
1	LF fwd	To Centre – Clap	RF back
2	RF side	1/4 turn R – Clap	LF fwd
3	LF b/a	To Rim	RF fwd
5	RF back		LF fwd	To Centre – Clap
6	LF in place		RF in place	Clap
7	RF fwd		LF back

Notes

1.

Enchufla con Estilo

Enchufla with Panache

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Open Break	Lead Lady’s Enchufla, then do a Gancho	Enchufla	1/2 turn L on 8
1–7	Exhibela		Exhibela
1–7	Exhibela		Exhibela

Notes

1.

Enchufla de Mentira

Fake Enchufla

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Enchufla	Chang into RL hold on 7	Enchufla	1/4 turn L on 8
1–7	DQN	1/2 R btwn 23, change back to LR on 7	Back Break	1/4 L on 3 Copa action, finish DQN

Notes

1.

Enchufla Doble

Double Connect. Hand sign: Closed fist, index and baby finger up, arm pumps up and down

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Enchufla	Check Lady on 3, lead her back on 5	Enchufla	Man checks L shoulder with RF on 3
1–7	Enchufla	Change LR to RL hold on 6, pass Lady	Enchufla

Notes

1.

Enchufla Doble Pa'Arriba

Enchufla Doble Clockwise

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Enchfla Doble		Enchfl Doble
1–7		1/4 L on 6, RF fwd on 7 with CBM
123	Sharp DQN	LF fwd 1/4 L, RF fwd 1/2 L, LF side	DQN	1/4 turn L with Copa action
567		Complete DQN

Notes

1.

Exhíbela Doble

Exhibit Her Twice

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1	Side Break	Lead Lady back, in place, fwd	RF back
2			LF in place
3			RF fwd	1/4 R turn
5	Side Break	Raise L arm, leading Lady’s R turn	LF fwd	1/2 Switch Turn R u/a btwn 5 6
6		Continue to lead Lady’s R turn	RF fwd	1/2 turn R btwn 6 7
7		Lower hand to chest level	LF c/t RF
Repeat

Notes

1.

Festival de Enchufla

Hand sign: Closed fist up, arm pistons three times

Enchufla, DQN with new Lady, Enchufla, DQN with second new Lady, Enchufla with third new new Lady and DQN with her.

Gancho

Step	Man	Lady
#	Footwork, Action & Amount of Turn	Footwork
123	R Turn, strong CBM R on 3	Al Centro Basic
5	Shoulders turning R, RF hooks beside LF, 1/2 turn R on RF, strong pivoting action
6	1/2 turn R
7	LF c/t RF

Notes

1.

Guapea

Act Tough

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork
1	LF back (RF in place)	Man opens to centre; sl pull	RF back (LF in place)
2	Transfer wt back to RF	Open to centre	Transfer wt fwd to LF
3	LF sl fwd	Open to centre	RF close to LF, sl fwd
5	RF side (LF in place)	Sl push; RH against Lady’s LH	LF fwd (RF in place)
6	Transfer wt fwd to LF	Open to centre	Transfer wt back to RF
7	RF back	Open to centre	LF close to RF, sl back

Notes

1.

Hombres Derecha

Men to the Right

Step	Footwork, Action & Amount of Turn
#	Man	Lady
123	LF fwd, RF fwd, 1/4 turn, L LF back	Al Centro Basic
567	RF back, LF back, RF in place

Notes

1.

Juana la Cubana

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Sombrero	Lead turn, hands down/up, to above heads	Sombrero	Travelling 1 1/2 R turn hands
123	Sombrero	Hands behind/in front of heads,	Sombrero	Hands behind then in front of heads
567	DQN	Lead Lady to LSP with LH, LL on shldr	DQN
1–7	El Uno	Alarde on 7
1–7	Exhibela
1–7	Sombrero

Notes

1.

Kentucky

Kentucky Fried Chicken. Hand Sign: Closed fists, flap elbows like a bird

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Enchufla	Check Lady on 7, LR on her L shoulder	Enchufla	Checked on 7, RL on L shoulder
123	Enchufla	LR down/up to L shoulder, 1/2 R	Enchufla	1/3 turn right
567	Gancho	Raise RL and Gancho 1 1/4 turns R under RL	LF fwd	Unwind arms to Man’s Gancho

Notes

1.

La Flor

The Flower

Step	Man	Lady
#	Footwork, Action & Amount of Turn	Footwork, Action & Amount of Turn
123	Duck, arms to centre, join hands, arc up, relax	Arms down as hands released
567	Arms down as hands released	Duck, arms to centre, join hands, arc up, relax

Notes

1.

Montaña Rusa

Roller Coaster

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Open Break	Lead Lady’s 1 1/2 turns R; RR/LL	1 1/2 R Turn	Travelling 1 1/2 turns R face Man
1–7	Open Break	Lead Lady’s Enchufla, then Gancho	Enchufla
1–7	Open Break	Lead Lady’s Enchufla	Enchufla
1–7	Sombrero		Sombrero

Notes

1.

Mujeres Izquierda

Ladies to the Left

Step	Footwork, Action & Amount of Turn
#	Man	Lady
123	Al Centro Basic	RF back, LF in place, RF fwd
567		LF side, RF b/a, 1/4 turn R, LF back

Notes

1.

Noventa

Ninety

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Setenta	Lead Lady 1/1/2 turn R	1 1/2 turn R	Travelling 1 1/2 turns R
1–7	Enchufla	Lead Lady’s Enchufla	Enchufla
123	Open Break	1/4 turn L under raise LR, in place	Bwd Basic	LR up
567	Side Break	Lead Lady behind 3/4 R, R Hammerlock	LRL turning	3/4 R, back to back in R Hammerlock
1–7	Back Break	R/L Hammerlock	Back Break	R/L Hammerlock
123	Back Break	R Hammerlock, raising RL on 3		R Hammerlock, raising RL on 3
567	Bwd Break	RL over Lady’s head on 5, 3/4 L on 6		1/4 turn R under RL to face Man
1–7	Open Break	Lead Enchufla LR–RL raised	Enchufla	Enchufla under double hand hold
1–7	DQN	Loop RL over Lady’s head & release	DQN	RL Head Loop

Notes

1.

Ocho

Eight

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	LRL	LF f/a, RF side, LF back	RLR	RF b/a, LF side, RF fwd
567	RLR	RF b/a, LF side, RF f/a	LRL	LF f/a, RF side, LF b/a
123	LRL	LF side, RF back, LF b/a	RLR	RF side, LF fwd, RF f/a
567	RLR	RF side, LF fwd, RF c/t LF	LRL	LF side, RF back , LF c/t RF

Notes

1.

Pa’Abajo (Para Abajo)

Go Counterclockwise

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Fwd Break	Lead Lady to pivot 1/4 turn R	Bwd Break	Facing Centre
567	Bwd Break	Diagonally back; lead Lady’s 1/2 turn L	Bwd Break	Backing Centre

Notes

1.

Pa’el Medio (Para el Medio)

Go to the Middle

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork
1	LF tap to RF	Hands up, lean away from centre	RF tap to L
3	LF side	Arms horizontal, stand straight	RF side
5	RF tap to LF	Hands down, lean away from centre	LF tap to RF
7	RF side	Arms horizontal, stand straight	LF side

Notes

1.

Pa’lante/Pa’atrás

Forward/Back

This is the Salsa Basic in Closed Position, done while facing either CCW or CW.

Paseala

Take her for a walk. Hand sign: Swing hand as if holding Lady’s hand while walking

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	DQN	But on 3, keep LR down	DQN	RH down
567		Side Break, RR on 7		LF diag fwd to RSP & sl behind, RR on 7
123		LF fwd, RF b/a, LF c/t RF		Back, f/a, fwd, to sl ahead of Man
567	DQN		DQN
1–7	Open Break	Lead Lady’s 1 1/2 R Turn	1 1/2 turn R	Travelling 1 1/2 turns R
1–7	Sombrero		Sombrero

Notes

1.

Paseala por Arriba

Take her for a Walk over the Head. Hand sign: Paseala sign and thumb over shoulder

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	DQN	LR up	DQN		RH up
567		Side Break			LF diag fwd to RSP & sl behind
123		LF fwd, RF b/a, LF c/t RF			Back, f/a, fwd, to sl ahead of Man
567	DQN	Lower RR to waist level to lead Lady across	DQN		Complete DQN
1–7	Open Break	Lead Lady’s 1 1/2 R Turn	1 1/2 turn R		Travelling 1 1/2 turns R
1–7	Sombrero		Sombrero

Notes

1.

Pelota con Dos

Ball with Two

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Enchufla		Enchufla
1 3	LF, RF fwd	Stomp, stomp	RF, LF fwd	Stomp, stomp
5 7	Feet i/p	Clap, clap	Feet i/p	Clap, clap

Notes

1.

Pepsi-Cola

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	DQN		DQN
5		Lead Lady fwd	LF fwd	Apply CBM
6		Lead Lady’s L Turn	RF fwd	PIvot turn L, with LF held in CBMP
7			LF fwd

Notes

1.

Setenta

Seventy. Hand sign: 7 then 0

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Open Break	Raise LH-RH on 3 to lead Lady’s turn R	1 1/2 turn R	1 1/2 turns R, travelling
1–7	Open Break	Lead Lady’s Enchufla, then own	Enchufla	3/4 turn R u/a turn to face centre
1–7	Open Break	Lead Lady’s Enchufla	Enchufla	Facing centre
1–7	DQN	1/2 R turn btwn 23	Back Break	1/4 L turn on 3

Notes

1.

Setenta Complicado

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Open Break	Lead 1 1/4 R turn into Hammerlock	1 1/4 trns R	Travel 1 1/4 turn R into Hammerlock
123	Open Break	Under Lady’s R arm
567	Side Break	Lead 1/2 L turn, Gancho u/a on 6		LH up, 1/2 L on 5, face Man, LR/RL
1–7	Enchufla	RL over Lady’s head to waist on 567	Enchufla	Keep two-hand hold throughout
1–7	Exhibela	Lead RR/LL Exhibela, RR Head Loop	Exhibela
1–7	Exhibela	Lead Exhibela, end L arm over R arm
1–7	DQN	Head Loop under RL	DQN

Notes

1.

Siete

Seven. Hand sign: 7

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Guapea	Keep chest open to centre	Guapea
567	Guapea	1/4 L on 7, tap on 8	Guapea	1/4 turn L on 7, tap on 8
123	1/4 turn L	Lead Lady’s R turn, tap on 4	3/4 turn R	RLR to turn 3/4 R, tap on 4
567	In Place	Lead Lady’s 1/2 turn L, RF sl back on 7	1/2 turn L	To face Man
123	Guapea	Keep chest open to centre	Guapea

Notes

1.

Siete con Coca-Cola

Hand sign: 7 and lifting a Coke to drink

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Guapea	Keep chest open to centre	Guapea
567	Guapea	!/4 L on 7, lead L turn on 7, tap on 8	Guapea	1/4 turn L on 7, tap on 8
123	In Place	1/4 turn L, lead Lady’s R turn, tap on 4	3/4 turn R	RLR to turn 3/4 l, tap on 4
567	In Place	Circle 1/2 L, lead 1/2 L into Pepsi-Cola	Pepsi-Cola	1 1/2 turn L (1/2 turn + 1 turn L)
123	DQN			Switch Turn
567		Lead Pepsi-Cola	Pepsicola	1 turn L
1–7	Sharp DQN	LF fwd 1/4 L, RF fwd 1/2 L, LF side	Sharp DQN	Copa action on 4

Notes

1.

Siete Loco

Crazy Seven Hand sign: 7 and crazy sign

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Guapea	Keep chest open to centre	Guapea
567	Guapea	1/4 L on 7, lead L turn on 7, tap on 8	Guapea	1/4 turn L on 7, tap on 8
123	In Place	1/4 turn L, lead R turn, tap on 4	3/4 turn R	RLR to turn 3/4 l, tap on 4
567	In Place	Circle 1/2 L, lead 1/2 L into Pepsi-Cola	Pepsi-Cola	1 1/2 turn L ( 1/2 turn + 1 turn L)
1–7	DQN	Take Lady’s RH under LL, waist level	DQN
1–7	Walk RLR	Turn 1/2 L, u/a, change places	1 1/2 turns R	Travelling 1 1/2 turns R under LL/RR

Notes

1.

Siete Loco Complicado

Complicated Crazy Seven Hand sign: 7 and crazy sign

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Guapea	Keep chest open to centre	Guapea
567	Guapea	1/4 L on 7, lead Lady’s L turn on 7, tap on 8	Guapea	1/4 turn L on 7, tap on 8
123	In Place	1/4 turn L, lead Lady’s R turn, tap on 4	3/4 turn R	RLR to turn 3/4 l, tap on 4
567	In Place	Circle 1/2 L, lead Lady 1/2 L into Pepsi-Cola	Pepsi-Cola	1 1/2 turn L ( 1/2 turn + 1 turn L)
1–7	DQN	Take Lady’s RH under LL, hold at waist level	DQN
1–7	Walk RLR	Turn 1/2 L, u/a, change places with Lady	1 1/2 turns R	Travelling 1 1/2 turns R under LL/RR
1–7	Enchufla	Lead Lady’s Enchufla with a head loop on 8
1–7	Enchufla	Lead Lady’s Enchufla

Notes

1.

Sombrero

The Hat. Hand sign: Putting on a sombrero

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1–7	Sombrero	Lead turn, hands down, above heads on 8	R turn	Travelling 1 1/2 R turn hands raised
123	Sombrero	Hands behind heads, then in front, waist	Back Break
567	DQN	Change to LR on 7	DQN	Snap turn on 6, change to LR

Notes

1.

Suena

Stomp on 5

Suena con Bulla

Stomp and shout on 5

Tiempo España

Spanish Time (Tempo) (Can be CCW or CW)

On 1–7, Man steps fwd, Lady steps back, short, sliding steps, quick, quick, slow, quick, quick, slow, lots of hip action.

Tarrito

Horn

While in Tiempo España, raise LR on 7, Man steps fwd, u/a on 123, and picks up next Lady on 567.

Tarrito de Mentira

Fake Horn

While in Tiempo España, raise LR on 7, Man steps fwd into L u/a turn on 123, complete L u/a turn and return to partner on 7

Treinta y Tres

Thirty-three

Step	Man	Lady
#	Footwork, Action & Amount of Turn	Footwork, Action & Amount of Turn
123	LF fwd, RF side, 1/4 turn L, LF back	RF back, LF side, 1/4 turn R, RF f/a LF
567	RF side, LF c/t RF, RF side	LF fwd, RF b/a, 1/4 turn R, LF back
1–7	Repeat	Repeat
1–7	Repeat	Repeat
1–7	Right Turn, Gancho	Al Centro Basic
1–7	Al Centro Basic, two claps on 2&, 3
1–7	Al Centro Basic	1/2 turn R on 6, clap on 6&, 1/2 turn R on 7, clap

Notes

1.

Vacilala

Check Her Out. Hand sign: Index finger pointing to eye

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
1	LF back		RF back
2	RF f/a		LH in place
3	LF fwd	Side-by-Side Position	RF fwd	Tension in arm for Man’s push on 5
5	RF fwd	1/4 turn R, push Lady’s RH to R btwn 5 6	RF fwd	1 1/2 turns R (travelling)
6	LF side	1/4 turn R btwn 5 & 6
7	RF c/t LF

Notes

1.

Vacilala Doble

Check Her Out Twice. Hand sign: Two fingers pointing to the eye

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	Vacilala		Vacilala	Tension in arm for Man’s push on 5
5	RF fwd	RH on Lady’s bicep, push R btwn 5 6	RF fwd	1 1/2 turn R (travelling)
6	LF side	1/2 turn L btwn 5 6
7	RF c/t LF

Notes

1.

Vacilense

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	LF back	1/4 turn R btwn 2 3	RF back	Tension in arm for Man’s push on 5
567	Gancho	Push Lady’s LR btwn 56 & Gancho	RF fwd	1 1/2 turn R (travelling)

Notes

1.

Zero

Step	Man		Lady
#	Footwork	Action & Amount of Turn	Footwork	Action & Amount of Turn
123	LRL	LF f/a, RF side, LF back	RLR	RF b/a, LF side, RF fwd
567	RLR	RF b/a, LF side, RF fwd	LRL	LF f/a, RF side, LF back

Notes

1.