Welcome to Salsa and Substance...

... A universe where we focus on both the dance and the interaction between the genders.

We strive to teach Salsa from the ground up, with special fokus on the details of the steps and leading.

During the classes, the practical danse exercises are supported by comments and appropriate metaphors; and with the help of gravity, dancing is experienced as a tridimensional activity.

The teaching puts the accent on the students' physical experience of the dance.

Men must learn to lead, and women must learn to be led—something that sounds rather simple, and is not at all, on account of the culture we live in.

What is Salsa?

Salsa is one of the social dances from the Caribbean.

Salsa is danced by both parties with elegant, soft and sensual body movements, where both mastery of body movement, as well as coordination and agility will be challenged and strengthened. The woman must learn to "let go" and "be danced", and the man must learn to lead.

Salsa is danced in couples, a woman and a man together. During classes, Salsa is typically danced in a so—called rueda de casino, which means that all couples dance the same variation in a circle and change partner for each new variation. In this way the men get to dance with all the women, and vice versa. It is a very good learning experience to dance with different partners.

During the rueda, the men's memory is put to the test as they need to recognize, remember and initiate variations.

Many express that Salsa is like a feast—a dance that is fun to learn—especially in a group. There is typically a lot of laughing during the classes and all enjoy the social moment in the dance. Many get to know each other very well through teaching and become friends for life, and many take up the challenge and meet other evenings at the numerous dance halls in Copenhagen, to practice the variations they have learned and socialize with each other.

What do we offer?

Group Classes (See "Class Description" and "Classes" )
Private Lessons
Bachelor Parties, Corporate Events, Birthday Parties etc (See "Parties")
Salsa combined with Couples Therapy (See "Salsa/Couples Therapy")
"Salsa without pause" and Salsa to other kinds of music (See "Special Salsa")

Class Description

Classroom instruction takes place in a relaxed atmosphere. We (I usually have one or two assistants with) focuses on YOUR learning.

At the beginner level, you learn the basic step and a set of fundamental elements that are the basis for salsa.

You can think of learning Salsa, as if it were Lego blocks: you get to build a "basic toolbox" that you can later use to create the dance.

You, the man, must intellectually learn every step of the process, while you, the woman, must focus on letting you be led, which is not easy in our culture where women have learned to have to have control over so many things!

Once we have the basic tools in place, we learn variations by putting the basic elements together.

With us, the idea is not that you have to learn a certain number of variations in a certain time frame, rather that you learn the basic elements by rote, so that you, the man, can create your own variations as soon as possible.

Salsa teaching can compared to language teaching:

Let's say that you have to learn Russian.

First of all, you must learn the cyrillic alphabet. This corresponds to the basic step.

Then comes words and the grammatical basic elements corresponding to the basic elements of variations.

Afterwards, you begin to learn some finished phrases that correspond to the basic variations.

At one point you can see that you will need to make your own phrases, don't you!

In Salsa, it means that you now have enough overview to break the variations you have learned and make your own!

Both a the beginner and higher levels, you also learn a special jargon, with expressions like: "to fall on your right foot," "to do crab walk" (that must be prevented!), "To play heavy and stupid", etc.

As a man, you must learn many things, among others variations AND their names.

To make the learning process easier in the beginning—where it can be a bit difficult in the first place—the variations are introduced in a specific sequence where each variation builds up on the previous. The names of the variations reflect this progression, which makes remembering them easier.


Contact us for more info about classes

salsaogsubstans@gmail.com or 29 39 35 36

Private Lessons

Some students want to take one or more private lessons.

Maybe you find some steps a bit difficult (we are all different in how and how quickly we learn).

Or maybe you think that the class is not going fast enough and you want private lessons to move forward faster.

Our pricing policy for private lessons does that by definition, people can afford them more easily.

Instead of requiring the customary (usually quite high) amount, you pay after what you can afford. The best way is that you give an hour for an hour. That is, if we are lucky that you are a bank manager, so "we score big" by getting your high hourly wage, and if you are on welfare, that is the amount you pay!

Workshops with focus on specific topics

Leading (and being led!)

The more Salsa you dance, the more topics present themselves, and the deeper you can explore them.

Current and former students sometimes say that many men out there on the dance floors could lead a little bit more specifically, and that many women could learn to be led!

Even if you no longer are a beginner, you might benefit from getting a refresh about leading.

Salsa is a 3-dimensional dance: use gravity!

Because the dance takes place in two directions on the dance floor, it might come as a surprise that Salsa should have three dimensions. It has, in fact, and the third dimension is gravity!

During the dance the man can use this infinite source of energy by "falling on his right foot" at the right time, thereby collecting energy from the ground and giving it to the woman.

Special Salsa

See here for other ways to dance Salsa!

Look for messages on this site and on the social media about such workshops, which we are going to hold once in a while.

Or, if you cannot wait, look under the Private Lessons and see that you can afford this!

Special Salsa

Salsa to other kinds of music

Have you experienced this? You went to a disco and could not really dance, because the music was not Salsa?

If you listen well to other kinds of music, you will notice that you actually often can dance salsa to it. The "1-2-3-pause" rhythm can be found in many numbers, even numbers you would never have associated with Salsa!

Before you know it, you dance to some of your favorite singers (for me, it means that I can dance to some of my favorites: Leonard Cohen, Bob Dylan, Lisa Ekdahl, Cornelis Vreeswijk and Cat Power, just to name a few).

During the process you will find that some of these melodies create a kind of a trance when you danced to them, as can be the case when you dance on the second beat of regular Salsa instead of the first!

Once you have mastered it, then it's time for ...

Salsa without Pause

Now that you have developed your ear to listen to music in a new way, it comes natural to find some music that "almost" can be danced Salsa to.

"Almost" becomes "It can be done" by dancing Salsa ... without pause!

If you now still are somewhat of a beginner, you may still remember that it was not easy to remember that pause (the pause is in fact one of the major issues for beginners). When you have complete control over the pause, you can begin a new chapter.

With Salsa without pause, your horizon widens even more. There are many, many numbers that are very good to dance Salsa without pause!

Once you get a feel of Salsa without pause, then you are much better to dance "normal" Salsa. Just because you are particularly aware of the pause.

Some numbers can be danced both with or without pause. For instance, you will find that a rather slow number—when danced without pause—becomes faster.

Bachelor Parties, Corporate Events, etc.

If you read enough of the above, then you already know that our Salsa lessons focus quite a bit on gender roles.

This makes it very ideal for events like bachelor parties, corporate events, etc., where the banter between the sexes is often in the background.

We can come to your location and offer a learning experience with lots of laughs!

Contact us here salsaogsubstans@gmail.com or call +45 29 39 35 36 for details!

Salsa and Couples Therapy

Salsa is more than just a couple dance.

In order to dance salsa properly, it requires that women become "real" women and men "real" men: the man must lead the woman, and the woman must be lead, without debate, without discussion!

In a relatively harmless context, Salsa reflects in fact what is going on in society (where women have been forced to become controlling copies of men, and men have been transformed into "wimps"). This does not mean that men again should control women.

For a woman to feel safe enough to let herself be lead, she must feel that the man is able to lead her.

Here we challenge the eternal balance between the genders and their respective properties—the balance between opposites as in any polarity: day and night, hot and cold, light and dark, etc., where one can not exist without the other.

I have learned from my teaching that the following are the greatest challenges people face when they start dancing Salsa:

  • The woman must learn to explore her femininity by letting go of control and let the man take control. In this way she can express herself and abandon herself to the dance. She can become so engrossed in the process that she almost loses touch with the surroundings.
  • The man must learn to explore his manhood, by leading in an assertive and yet gentle way, assertive enough to show the woman that he is there for her, and gentle enough to show respect for her process. This way, the man creates the framework in which the woman can unfold herself.

Both parties explore their meeting by playing their roles and letting the other playing theirs.

As long as the woman tries—consciously or unconsciously—to control the process, or as long as the man does not lead properly, the dance is no more than an effort, or—at worst—a struggle. The moment both parties play their roles, the dance becomes a high-quality experience.

It is no coincidence that salsa and other Latin dances are considered very sexy, especially in the Nordic cold countries: it is very easy to compare Salsa with sex. During both activities, women and men have different roles, which in turn reflects their gender essence, the feminine and the masculine. Ecstasy, either during sex or salsa, is only achieved when both parties rest in their essence.

My motivation to teach Salsa comes from the joy of seeing people rediscover their essence.

  • Most women will notice how nice it is to dance with a man who can lead, thereby fully be able to abandon herself to the dance. When I dance woman, I also get the feeling that I can just enjoy it without worrying about anything. In a "real" man's hands, I can even dance with closed eyes.

  • I have seen men build their self-confidence by learning to lead in a proper way. They learn to transform their raw energy to a constructive leading, or to bring their virility back to the surface.
SOS Process

SOS is aimed at couples who want to strengthen their relationship, both in and outside the bed.

The course consists of the following:

  • 9 1.5 hours Salsa Lessons;
  • 3 hours of individual therapy.

In the salsa part, you learn to dance salsa, as you would in an ordinary Salsa class—except that we focus even more on gender roles.

During the therapy conversations we use what you have experienced in the salsa part as the basis for examining your relationship and what could be done to get it to bloom again.

The course costs 2,000.00 kr. per couple.

Additional therapy can be offered as needed, see our Private Lessons policy.

SOS in the Press

SOS has been mentioned in an article in the press.

Here you will find both a picture of the article and—because the picture is not very clear—also a reproduction of the text itself.

Rekindle your love life

Many are reluctant to seek out a counselor. They imagine a boring office and long, grueling talks. But it does not need be so serious. We have spoken with couple therapists who successfully combine good advice with salsa.

By Birgitte Bartholdy.

Does your relationship need a boost, but it's too boring to sit in a therapist's office and talk? So it is perhaps a good idea to try one of the new therapy and lecture forms that are showing up. What about dancing salsa with therapists before you take a serious conversation with them about your problems?

This offer comes from salsa instructor Jean-Paul Bardou and psychotherapist Jane Rubien.

Together, they offer the course Salsa and Substance with nine salsa classes, and the possibility of a therapy conversation afterwards as necessary.

Jean-Paul Bardou started to dance salsa nine years ago and discovered that dance can make a relationship blossom again.

The reason is that he believes that salsa has clear rules for the two sexes, and that both men and women therefore are better able to unfold. "The most important rule is that the man leads and the woman is led. To be good at dancing, it is necessary that men learn to decide, and that women learn to let go of control and follow his instructions," he says.

He knows that this kind of comment will have some women see red. It has also happened that they began to discuss with him and insist that they will not accept to be decided about.

"But then the dance goes astray. It's not about the woman having to submit herself to the man's will, but to be willing to meet him in the dance and give him a chance to show that he is able to create the right environment for her."

Men's indistinct signals

According to Jean-Paul Bardou, he has never in his teaching met a woman who did not eventually end up giving him right that a clear division of roles is beneficial for cooperation. And, moreover, it may reawaken sexuality if the couple takes their experiences from the dance floor home with then and into the double bed.

Jean-Paul Bardou is the leader when it comes to dancing lessons, while Jane Rubien who is cand. psych. and specialist in psychotherapy, leads the conversations afterwards.

She says she often already can see, when the couple comes on the floor, that the relationship is askew. That is why the dance is a good preparation for the talks afterward, she explains.

"When you dance salsa, you change partners all the time, and in that way, you learn to be responsive. Men practice leading so it suits the women they dance with. And women learn to read different men's signals, because there are big differences in how clear the men are."

Female copies

Moreover, according to Jean-Paul Bardou, salsa is great to wake flirtation back to life. He is originally from France and has observed that Danish couples find it harder to keep the thrill than French couples do. "Maybe because the Danish women are increasingly forced to become copies of men. They feel they must keep track of everything, even their men. It is no good when they dance salsa."

According to Jean-Paul Bardou and Jane Rubien many Danish women and men are in deficit when it comes to enjoying. Far down the road, it is due to the bustle and poor communication.

"Both women and men may have difficulty taking responsibility for their own needs and become rather peeved that the other can not guess what they need," says Jane Rubien.

Through dance and conversations, couples can get better at expressing their wishes, and knowing what it is they wish. Maybe they will not be fulfilled, but it does no good to be angry at one's partner for that reason.

The course comprises one and a half hours of dance once a week for nine times for one season. A few of the time or more, the couples can have a conversation afterward.

See more about Salsa and Substance on www.salsaogsubstans.dk, where you can also sign up for a new season with Jane Rubien and Jean-Paul Bardou. Incidentally, he also takes out for parties or bachelor parties and teaches salsa with a focus on gender roles.

Another version of this article can be found on AOK's website.


The classes are taught by Jean-Paul Bardou.

I started with Salsa in November 2003, with Beni Garcia (I wonder what happened to him!) at Mambo, which at that time was called Sabor Latino. I had never danced before in my life and it was a big challenge to my self—image. I did not think I'd be good at it.

I was completely hooked, however. Before I knew it, I participated to all the classes, ie. 3 classes 3 days a week. Slowly I became kind of Beni's assistant. One evening, during a rather difficult variation, he suddenly said to me that I should dance woman. So I learned it!

Then it was time to move on. For a couple of seasons, I taught at an evening school. It was there that the idea of ​​Salsa with Substance began to emerge: it was so obvious to me that gender roles in Salsa and gender roles in the real world look like each other so much that the one could be used to alleviate the other! See SOS for more on this.

It was so obvious that the way I had formulated the evening course description had attracted some people who had also gender role issues on their plate.

At this time, the evening schools began to have a difficult time. Then I was teaching assistant for Salsa Fritz, with whom I was until the Winter of 2014, when Fritz temporarily stopped to have classes.

I have also had a five-year assignment with three classses at different levels in each season in Korsbæk, the well-known small province town ...

My philosophy is that everyone should be a part of the action. That is, I use the time it takes so that we can proceed in an orderly manner, with special attention to those for whom it might be a little difficult at first.

Not all of us become elite dancers. My interest is in disseminating information about something exciting. I am a good teacher, good to find images and to get students to thrive.

Most often, I have one or two female assistants, both can, also to varying degrees, dance man. That is, you get a lot of attention along the way!

Testimonies from some students and former students

A.-N.: Jean Paul is a very talented dancer and salsa teacher. JP emphasizes that men and women must understand the dance's true nature, where the man leads and the woman follows. It places a special (large) expectation on the man. He must acquire the many wonderful variations and he should master the technique. However, the result becomes also a delightful dance experience for both parties.

J.V.: Here everyone can participate!

We have now during three seasons experienced Jean-Paul as a patient and thorough instructor: there is time for all to follow.

There is also room for fun and socializing in a relaxed atmosphere that has developed a nice community and enjoyment of the dance.

I.D.: I have been very pleased to have Jean-Paul as a teacher. He is clearly passionate about communicating many aspects of the dance, which has been very educational for me. The strong focus on gender roles in and outside the dance has been a lovely and instructive additional item.

When I think back to the many teachers I have had throughout my life, it's just the passionate and the "special" ones (here meant as a compliment) who remain sharpest in memory. Those who had the edge, stood out from the crowd, who had special opinions—which I did not necessarily agree with, but that made me reflect.

Teachers who were also quite difficult and provocating—and yet made one come through with the teaching in a loving manner. Jean-Paul is such a teacher. And thank God for it.

M.C.: After five seasons attending Jane and Jean-Paul's classes , I am ready to move on. The teaching has been really good and fruitful, and I believe that all new beginners will enjoy dancing with Jean-Paul and Jane. The instructions are thorough, which I can only see as a big advantage when you are a new beginner.

P.M.J.: Jean-Paul is good to repeat the variations so that we all can execute them. For us who do not remember the variations so well, it's great that it's ok and the variations will be reviewed again so we all can follow, an important element of Jean-Paul's teaching.

A.S.: My boyfriend and I have been very happy to go to Salsa with Jean-Paul. I think he is a talented instructor who knows how to get everyone in the class to perform the various variations while making it fun and entertaining. I have previously gone to Salsa in Copenhagen and I am very pleased to have found an accomplished instructor ... I also think we got a lot out of going by Jean-Paul—we have been challenged and we now can dance many more variations than before.

H.H.D.: I have been super happy with the teaching. I have previously gone to beginner salsa teaching, and I have in no way learned so much as now.

L.A.: Jean-Paul teaches in a relaxed and humorous tone—this is why I like to go to salsa.

R.H.: It is important that the man leads and not all men can do it. With Jean-Paul, a strong emphasis is put on the fact that the man must learn to lead and the woman should learn to be led. Thoroughness is one thing that Jean-Paul attaches great importance to and he does not start a new variation before we all together can perform the other variations.


You can get in touch with us in the following manners:

salsaogsubstans@gmail.com or

Call Jean-Paul at +45 29 39 35 36.


Here you can find videos of several elements and variations. You can find a detailed description of the basic step and basic variations here.

We are glad to offer you this information. And you should know that watching movies and reading instructions can not give you the same depth as you will get by coming to classes!

We have more videos, which the students can get, as we learn variations along the way.


Basic Step


Enchufla Correction Step


Enchufla Doble


Enchufla DiLe Que No




Para Mi Para Ti 1


Para Mi Para Ti 2


Para Mi Para Ti 3


Para Mi Para Ti 4


Here you can see detailed descriptions of the basic step and basic variations.


The following abbreviations are used:

W Woman
M Man
L Left
R Right
LF Left Foot
RF Right Fooot
LH Left Hand
RH Right Hand
OS On the Spot
BOS Back On the Spot
SOS Step On the Spot
DLQN DiLe Que No

Cuban Salsa is danced on a 2-beat, 4-stroke rhythm: 1-2-3-4 (5, 6, 7, 8), where the fourth and the eighth stroke are pauses. The two beats are repeated again and again. The odd beats are called beat 1 and the even beats are called beat 2.

Basic Step
The basic step consists of 2 4-stroke beats:

Beat 1:
Stroke 1:M: LF back W: RF back
Stroke 2:M: RF SOS W: LF SOS
Stroke 3:M: LF BOS W: RF BOS
Stroke 4:M: pause W: pause
Attention: The pause is very important!

Beat 2:
Stroke 1:M: RF to the R (or forward) W: LF to the L (or forward)
Stroke 2:M: LF SOS W: RF SOS
Stroke 3:M: RF BOS W: LF BOS
Stroke 4:M: pause W: pause
Attention: The pause is very important!

Vuelta (turning in Spanish)
The vuelta consists of 2 4-stroke beats.

(The first step of the Vuelta is the same as the basic step, except that M takes LH up between stroke 2 and 3, which shows W that she must turn during beat 2, AFTER the pause!).

Beat 1:
Stroke 1:M: LF back W: RF back
Stroke 2:M: RF SOS W: LF SOS
Stroke 3:M: LF BOS W: RF BOS
Stroke 4:M: pause W: pause
Attention: The pause is very important!

Beat 2:
Stroke 1:M: RF SOS W: LF forward and start turning to the R
Stroke 2:M: LF SOS W: RF turn around half OS
Stroke 3:M: RF SOS W: LF finish the turn
Stroke 4:M: pause W: pause
Attention: The pause is very important!

(When W or M step on the spot three strokes in a row, as M does under beat two of the Vuelta, it is called standby basic step).


Enchufla (plug in Spanish)
The enchufla consists of 1 4-stroke beat.

(The enchufla is probably the most important element of Salsa!).

Stroke 1:M: LF back W: RF back
Stroke 2:M: RF forward W: LF forward
Stroke 3:M: LF forward and turn 180 to the R W: RF forward and turn 180 to the L
Stroke 4:M: pause W: pause

(When taking two enchuflas in a row, W and M swap their enchuflas, ie. W takes an enchufla with LF and M with RF. Two consecutive enchuflas are called a enchufla doble, see next element).


Enchufla doble
Enchufla doble consists of 2 4-stroke beats.

(The first beat is the same as for an enchufla).

Beat 1:
Stroke 1:M: LF back W: RF back
Stroke 2:M: RF forward W: LF forward
Stroke 3:M: LF forward and turn 180 to the R W: RF forward and turn 180 to the L
Stroke 4:M: pause W: pause

Beat 2:
Stroke 1:M: RF back W: LF back
Stroke 2:M: LF forward W: RF forward
Stroke 3:M: RF forward and turn 180 to the R W: LF forward and turn 180 to the L
Stroke 4:M: pause W: pause

(IMPORTANT: The man must support the woman along the way by stopping her with his RH on her left shoulder at the end of the first enchufla and push her back when the other enchufla begins!).


To DiLe Que No (See DiLe Que No, DLQN, next)
W is brought to DLQN typically from an enchufla where she is on the R side of M.
To DiLe Que No consists of 1 4-stroke beat.

Stroke 1:M: RF back W: LF diagonal towards M
Stroke 2:M: LF OS W: RF next to M (with room for LF)
Stroke 3:M: HLF BOS W: LF so that W stands next to M
Stroke 4:M: pause W: pause

(At the end of the beat, W puts her LH on M's H shoulder).

(A simple enchufla is often followed by a To DLQN and a DLQN, which is the first figure, see Enchufla Dile Que No below).


DiLe Que No (say No! to him in Spanish)
DiLe Que No consists of 2 4-stroke beats.

Beat 1:
Stroke 1:M: LF forward towards W W: RF back
Stroke 2:M: RF OS W: LF OS
Stroke 3:M: LF BOS 180 away from W W: RF forward to the R 45 degrees away from M
Stroke 4:M: pause W: LF dip against RF

(This combination of three strokes for M is called "forward and take it back")

Beat 2:
Stroke 1: M: RF back W: LF to the L past M
Stroke 2: M: LF OS W: RF to the L, start V turning
Stroke 3: M: RF next to LF towards W W: LF finish the turn to basic step
Stroke 4: M: pause W: pause

(Notice that DLQN is an element where something happens on stroke 4 of the first beat instead of the usual pause: Ws dip!).


These elements, Vuelta, Enchufla and Dile Que No, when combined in different ways, are the basic elements, the variations are built from.


Enchufla—dilequeno: An enchufla and a DLQN!

Voofla A vuelta for W followed by an Enchufla—dilequeno.

Triple Three enchuflas and DLQN.

Para mi Para ti #1
(one for me and one for you in Spanish)
Three enchuflas, where W goes in front, behind and in front of M, followed by a DLQN.

Para mi Para ti #2 Same as para mi para ti #1, with a hand change after enchufla #1 and enchufla #2.

Setenta Vuelta for W, while M holds both her hands (LH to RH and RH to LH), and M's RH and W's LH stays down; followed by the last two enchuflas from a para mi para ti #2, and DLQN.

This is a list of variations

Setenta Series

Basic Step
Enchufla Correction Step
Enchufla Doble
Enchufla Dile Que No
Manuel complicado
Para Mi Para Ti 1
Para Mi Para Ti 2
Para Mi Para Ti 3
Para Mi Para Ti 4
Para Mi Para Ti 5
Para Mi Para Ti 6
Para Mi Para Ti 7 *
Para Mi Para Ti 8 *
Para Mi Para Ti 9 *
Setenta Elegante *
Setenta Cambia Manos *
Setenta Cambia Manos Complicada *
Setenta Cambia Manos Ex Complicate *
Setenta Alta *
Setenta y Rumba
Setenta y Uno *
Setenta y Cinco *

Setenta Series con una Vuelta (with a turn for the woman on the right side of the man)

Enchufla Dile Que No and Voofla con una vuelta
Triple con dos vueltas (two turns)

Setenta Series y ocho (with a figure eight turn for both dancers)

Enchufla y ocho

Setenta Series y zero (the woman goes around the back of the man)

Setenta zero doble

Ochenta Series (all with a shift of hands)

Ochenta (80)
Ochenta y uno (81)
Ochenta y tres (83)
Ochenta y cuatro (84)
Ochenta y cinco (85)
85 fake *
85 elegante *
Ahorcala (hæng hende) *
Sombrero (the hat) *
Mariposa (butterfly)
Cuncun *
3M *

Family Series

La prima
La secunda
El hermano (the brother)
La hermana (the sister)
La prima con la hermana
La prima con la hermana complicada
El Tio Rico *

Miscellaneous Variations

El Dedo (the finger)
La Montaña (the mountain) *
You Me You
Dos Complicado
Me quedo con ella
Me quedo con ella complicado
El pulpo (the Octopus) *
El pulpo doble *
Peligrosa *
Preciosa *
Cuatro Vueltas *
Con cabeza

All variations can be obtained on film, except the ones with a *, they will come later!