Afro-Cuban music is sometimes described as being born of a Spanish father and an African mother; and power relationships aside, this statement representing salsa as a creole of West European and African music is largely true. This is evidenced by European chordal progressions to African rhythm; and also in the dance by African hip action coupled with the European dance hold. But there is a more sublime instance of both influences; and it concerns where the dance cycle is thought to start.

The European interpretation of the dance cycle and where it's perceived to begin has been used throughout this tutorial series. However, you should be aware that the African element perceives the cycle as initiating at a different point. With respect to rumba clave, the dance cycle begins with the ponché, and the cue to prepare for the beginning is given by the bombó. So there are actually two overlapping cycles:

• the dancer's step rhythm phrased to European convention; while
• the mind and upper body phrase to the African cycle, commencing on the ponché.

The two cycles are not independent, as clave orientation is needed to inform the phrasing of the step rhythm. Below is an example of the overlapping cycles in 2-3 orientation.

Figure 11.5a. Overlapping cycles:
rumba clave, steps in 2-3 orientation

If the step cycle were phrased in 3-2 instead, the two initiation points would be much further apart:

Figure 11.5b. Overlapping cycles:
rumba clave, steps in 3-2 orientation

The staggered cycles do two wonderful things when properly understood:

• The first is that it smoothens out the phrasing so that rhythmic weight is not concentrated into just one point. Moreover, the cycles work with each other to drive the rhythm forward - once cycle continues to advance as the other draws breath.
• The cycles behave as rhythmic counterweights to the physical activity: your lower body articulates African action to the European cycle; while your upper body employs European hold while mentally phrasing to the African cycle. The symmetry should not be lost to the experienced dancer.

Being aware of these subtleties, and interpreting them in our own unique way lends character and depth to the way we dance. You might want to visit the Body Skills Collection and Rhythm Sense sections for some ideas.

Commanding the Cycles
This is just the tip of the iceberg, and the concept opens up so many avenues for exploration it just begs some really interesting questions:

• How does clave orientation affect the dual-cycle relationship?
   
• Do the different locations of rhythmic tension relative to the start points change the way the cycles feel?
   
• How does commencing the dance on the slap stroke (beat two), sometimes called dancing 'on clave', work?
   
• What about son clave?
  You should also know that there are some instances where the start point is perceived as the bombó instead of the ponché.
   
• Can I apply all the possible permutations I learned in rumba to son clave?

You might have many more, but it all boils down to one thing - mastery of multiple perspectives of clave is the best avenue to its understanding. I encourage you to develop the skills to answer these questions and to act on the results. The perception of clave is not an academic exercise. Rather, it's a living breathing course of fulfilment that will ensure you remain passionate about Afro-Cuban dance for ages to come.