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Setenta con Alarde is often just called Setenta, and that is confusing because it gives us at least three different variations with the same name. I propose to use the following three names for the three most common Setenta moves:

1. Setenta (almost half of all Setenta videos)
2. Setenta con Finta (less common but equally good)
3. Setenta con Alarde (almost half of all Setenta videos)

The Hammerlock of Setenta can be done with three methods, see my blogpost: Cuban Salsa: How to do the Hammerlock in Setenta, where I argue for always to use Vacilala Steps as in the following videos.

Video #1 is from “Dolce Dance Franchise Tánciskola Hálozat”, Hungary, 2010. They open up on seven and tap on eight as preparation for walking proper Vacilala steps. At advanced level, the “instant” Vacilala is more common with almost no prepping:

Video #2 is from the “Salsa Lovers” DVD No 2″, Miami, USA, 2000, featuring Rene Gueits as instructor. Setenta con Alarda is probably the most common Setenta in the Miami Rueda tradition. Henry Herrera from “Salsa Racing” also used this version.

Video #3 features Szabó László as instructor, Budapest, Hungary 2015. This Lead adds an extra Alarde at the end of the Hammerlock. That is, the first Alarde is optional, the second Alarde is part of the move.

Named moves are just a convenient way to train one or more basic figures or other basic features of Cuban Salsa. And named moves can also be called in Rueda de Casino.

In Setenta con Alarde we train to use an Alarde on 5-6-7 and to continue directly into Dile Que No. The rest of Setenta con Alarde is almost “irrelevant” and could one day be put aside, we have exactly the same in almost all other figures in the big Setenta family of moves.