The power of proper arm styling in dance

The use of arms is one of the biggest differences you notice between skilled and unskilled dancers. Naturally, less experienced dancers are still focused on other things, like use of footwork and their musicality. Still, arm styling is one of the fastest ways to identify a highly experienced dancer from the crowd.

Here is some information to help you develop good use of arms and hands in the Latin American and the American Smooth genres. Think of these as the non-negotiable qualities that make arms look professional and polished.

Arm movement starts with the body

Inexperienced dancers see arms moving and try to emulate what they see by flinging the arms out to the sides or up. It’s not actually what is happening. Professional arm movement originates in the center area of the body. The energy, which essentially starts from the base, but let’s ignore that for now, comes from the core, from the rib cage. Any extension of the arm is the end of the movement, not the start.

To test this, stand on one foot and change your weight to the other foot. You should notice your hips, then your rib cage responding to that shift of your weight. It’s subtle but should be noticeable. Let the ribs and back respond to this. Then allow the energy to flow into your shoulder blade, then past it into the arm. You don’t need to do anything with the arm. Just feel where that energy originates and where it wants to go. This will start the process of letting your body respond and continue the movement.

In this way, the arm arrives after the body. We’re talking a very short time frame, but it should be the result of the body’s change, not a separate action independent of what the body is doing.

In contrast, most beginners use their arms swinging them independently from the shoulder joint with no body cause.

Use your scapula (shoulder blade), not the shoulder

Most people try to place the arm by lifting the shoulder. The proper approach is to use scapular control. The shoulder should stay down and wide, while the scapula glides. One way to apply this is to lift your arms to the sides, then rotate them so that the palms are facing up. You should notice that the shoulders actually lower slightly through that action, where they want to lift up when you lift the arms with the palms down.

It should feel as if the arms are supported from the back, not held up by your neck muscles.

Elbows, then hands

Professional looking arm movement is a continuous curve, not a straight stick with pretty fingers at the end. Good arm styling in dance always extends from the shoulder through the elbow, then the forearm and then the hand. Think of how you throw a Frisbee. Okay, maybe you never heard of Frisbees but they were popular when I was young. Tsawwassen even had Frisbee golf!

Your elbow should always start slightly forward of the shoulder line (so it doesn’t look behind you). Then it continues to send the energy out to the hand. This works best when the elbow is first down in front of you before you send it out. The wrist should be soft.

In the Latin dances, the hand extends faster to its final position. In American Smooth it is delayed, finishing the hand position later and more softly. Some people say to think of an inflating balloon rather than a steel pipe.

Less experienced dancers tend to forget the arms in more complex movements such as underarm turns. The best dancers are constantly aware and applying the arms, and are fully aware of even the position of the fingers to the very end of the movement. I like to think of Ironman firing laser beams out of the fingertips. That way you continue to apply the energy that started with the leg all the way to the fingers at the end of the movement.

Latin arm styling essentials

Latin arms are a part of the language of the dance. They accent rhythm, frame the body, and finish body actions. This is especially true with Cuban motion and rib/torso rotation.

Arms are connected to ribcage action. The rib cage and pelvis often oppose or rotate. The arms must reflect that, otherwise they look decorative and random.

Basic arm styling practice
On a settled hip, allow the same-side rib to soften and settle, which causes the opposite rib to feel longer. The presenting arm then corresponds to what your torso is doing. Stand neutral, weight on your left foot. Settle into the left hip. Don’t shove,just settle naturally, the way you would if you were holding something heavy and propping it onto your hip for extra support. Let the ribs respond as they move toward the right side. Hold your right arm in front of your body with the elbow down. Let the rib throw your elbow sideways and then let the arm continue to extend. Then allow the hand to continue out to the fingers. At the end of the movement, either rotate your palm forward, or let the back of the hand rotate forward (whatever is most natural for you). Bring the entire arm forward, then bring the elbow down in front of your body. Repeat this until it’s natural. Finally, switch sides and try with the other side.

Latin hand and finger styling should look alive, but not fussy. Fingers lengthen from the knuckles. The thumb should be relaxed and long (not pinched). Men look great when the fingers are together and the thumb is open. Ladies, of course, should have their beautiful “lady fingers” look where the thumb and second finger are closer together than the other fingers.

Avoid over-articulated hands, commonly referred to as “spider hands.” Don’t collapse your wrist. Don’t have limp fingertips. In Paso Doble, and in many of the Smooth dances you should think of pressing the air away from you as if it is water, to create a smooth and active look.

Rumba: Arms are slower, more elastic, more “breath.” Use sustained lines that match body settling and rotation.

Cha Cha: More compact and rhythmic. Arms often return closer to body between accents so you can punctuate cleanly.

Samba: Arms support the bounce action and body flight. Keep shoulders quiet. Let your arms “float” with elastic tone.

Jive: Arms are crisp but controlled. Avoid big floppy swings; keep elbows organized.

Paso Doble: Stylized and intentional; arms are part of the character. Stronger tone through upper arm and forearm. Fingers need to be finished. Some figures require “Flamenco” fingers.

Smooth dances: Smooth arms must read continuous, supported, and partner-aware. The arms are part of your frame, even when you separate, so they must still look like you could reconnect instantly. As you finish rotations or shaping, have the arms ready to come back into closed hold in a natural way. You want long, expressive arcs in your explosion movements. Continuous flow, with matching rise/fall and swing.

The finishing touch

Good arm styling sells the quality of your movement. When you use your arms properly, they make timing, balance, and body control visible to judges and to the audience. It improves partnering and clarifies your choreography. More importantly, arms punctuate accents (Latin) and complete phrases (Smooth), so your dancing reads cleanly and elevates your presence on the floor. Even basic steps look professional with consistent, connected arm styling that comes from the back.