The Rhythm The music of Cha Cha is written in 4/4 time. In authentic Cha Cha music a very definite rhythmical link can be heard between each bar, resulting in an overall rhythm of 1,2,3,4&1,2,3,4&1, etc. This rhythm is interpreted by the dancer with foot movements on 1,2,3,4&1, giving a beat value of 1, 1, 1/2, 1/2, 1.

The Movement

Every step should be taken with pressure on the inside of the ball of the foot with the knee flexed. As the weight is taken on the foot the heel should lower, the knee straighten, and the heel of the opposite foot should be released as the hips move softly sideways in the direction of the stepping foot. This movement is less pronounced on steps having only 1/2 beat value.

The Chasse’

In its basic form this is a figure of three steps in which the first step moves to the side on count “4″, the second step half closes on count “&”, and the third step continues to the side on count “1′, a full transfer of weight being made on each step. The chasse’ may, however, be taken with or without turn in any forward, backward or sideward direction, or remain on the spot.

In an advanced form a slight crossing action may be made by the man or lady on count “&” when moving forward or backward. The toe of the back foot is placed near the heel of the forward foot with toes of the back foot turned out when moving forward, and the heel of the front foot is placed near the toe of the back foot with the toe turned out when moving back. The footwork for the forward chasse’ would be ball-flat, ball, ball-flat, and on the backward chasse it would be ball, ball-flat, ball-flat.

Normal Hold

Stand facing partner about six inches apart with the head erect and the body naturally upright. The man should place his right hand on the lady’s left shoulder blade, the lady places her left hand on the man’s upper right arm, following the curve of his arm to the shoulder. The man’s left hand is raised approximately shoulder height in a gentle curve. The lady places the fingers of her right hand between his thumb and first finger and both hands should be lightly clasped.

Arm Positions

The arms should be held in a natural and unaffected way and never be conspicuous. In many school figures the partner is held with only one hand. The free arm is never static and is always moving slowly between the following three positions, taking a whole bar of music (2,3,4&1) to do so. In practice any movement is hardly noticeable.

Position One: Normal dance hold (explained above).

Position Two: When the dancers are moving apart the free arm moves to a point away from the body at approximately waist level.

Position Three: When the dancers are moving towards each other, without taking normal hold the free arm moves to a position slightly across the body.

“‘Note: The basic rhythm may also be counted as 1,2,3,4&5,6,7,8&, using all eight counts as a phrase.

RUMBA AND CUBAN MOTION

Is there a difference? Yes, In Rumba motion the dancer places foot using the inside edge, which bends the knee, and then places weight on that foot. It uses two movements. The second movement uses the gluteus muscles, not the knees. Cuban motion uses the rib cage (diaphragm) to effect the hip action. The dancer steps using the inner part of the foot, placing most of the weight on the foot which gives motion to the hip. Knees are straighter. It takes one movement. The use of compression gives the added, more advanced styling. When performed correctly there is no “hold”; there is continued movement.

It has been said that the movement came about as the result of island people balancing large baskets or bundles on their heads as they walked. It is almost opposite to how we normally walk. The motion is very beautiful, but few dancers have the patience to learn it properly.

The tilting of the hips comes naturally to some people but not to others. Women, as a rule, are more flexible in the hips and will naturally tilt the hips from side to side, even when walking down the street. The average man shows little or no hip movement in walking.

Using the law of opposites, any step taken on the inner edge of the left foot pushes the right hip out, and any step taken on the inner edge of the right foot pushes the left hip out, regardless of whether you use the Rumba or Cuban motion. There should always be a slight softness in the knees. A straight knee usually ends up as a locked knee which makes the dance choppy.

BASIC FUNDAMENTALS

Signs of Physical Stiffness

1. Dancing flat-footed.
2. Lady’s skirt swaying from side to side,
3. Dancing “too” high on toes.
4. Dancing with a stiff arm.
5. Arms rigid, too far away from the body. Left arm held above the lady’s shoulder.
6. Dancers being “back” on their heels instead of the weight being over the balls of the feet.

Signs of Mental Stiffness

1. Man squeezing lady’s hand while dancing.
2. Man holding arms too close to body, especially the left arm.
3. Dancers looking down.
4. Dancing with feet too far apart.
5. Frowning.

How To overcome Stiffness

Stiffness is the result of an inability to dance with ease, physically or mentally. As you become a good dancer you will gain confidence and overcome “stiffness.“