La Habana

ConteoCasino/rueda a tiempo: active steps on 1-2-3 and 5-6-7, pauses or holds on 4 and 8. Breaks occur once per measure, on 1 and 5; leader starts left and follower starts right.

Tiempo musicalBest suited to moderate casino/rueda social tempos, roughly 150-185 bpm, where the group can hear the caller and preserve circular spacing. At 190 bpm and above, the figure becomes fast-end rueda material unless the group already shares the same local choreography.

• Guapea
• Dile que no
• Enchufla timing
• Open-position casino connection
• Rueda caller awareness

• ✕Treating La Habana as a universally standardized figure when local ruedas may choreograph it differently.
• ✕Follower stepping forward on count 1 instead of breaking back on the right foot and traveling later.
• ✕Leader pulling the follower through the path instead of opening the body and preserving the circular rueda spacing.
• ✕Compressing the reorientation into a single late turn rather than splitting it across the entry and exit of the exchange.
• ✕Losing the two-measure phrase by adding extra breaks inside a measure.

• ≠La Habana is a place-name call, not a literal instruction to travel toward Havana or toward the center of the rueda.
• ≠It should not be confused with LA or New York slot-salsa cross-body-lead terminology.
• ≠It should not be listed under invented translations such as an English 'Havana step' unless a local scene actually uses that name.

• International rueda / Spanish-call usage

  La Habana

  Working call name supplied for this card; available sources support Spanish-call practice generally but do not document a universal choreography for this specific call.

• European rueda schools

  La Habana

  Often retained as a Spanish call name when taught; this entry should be verified against a specific school syllabus before being treated as a regional standard.