cha cha cha

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cha cha cha

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Get Over It!Individual Dance CourseCha ChaTopTable of ContentsGeneral TopicsPosturePoiseArmsHeadRelative positions of the Man and LadyClosed Position - Closed Position in the Latin DancesMovement in the Latin Dances Cha Cha Basic Patternpen Position!lusive Cu"an Motion - #ometimes called Latin Motion$or%ard and Bac&%ard 'al&s - (Cu"an 'al&s) - 'al&s as man and 'al&s as LadyCorrect and *ncorrect #teppin+Dia+rams of Complete Basic PatternThe first Dia+ram is The Turnin+ BasicThe #econd Dia+ram is the Basic %ithout the Turnin+$or%ard and Bac&%ard Brea&s$or%ard and Bac&%ard Roc&s$or%ard Brea&s as Man or as Lady - in pen PositionBac&%ard Brea&s as Man or as Lady - in pen Position#ide%ard Brea&sutside Brea&s - , utside Brea&s Apart$or%ard and Bac&%ard Roc&s$or%ard Brea&s- BasicBac&%ard Brea&s- BasicBac&%ard Brea&s Apart- Basic.nder Arm Turnpen and Promenade Brea&s -(ends %ith .nder Arm Turn)Cross Body LeadSpot TurnsBackward Spot TurnBackward Spot Turns as Man and Lady in Cha ChaForward Spot TurnRight and Left Under Arm TurnsAdvanced Movement and Advanced #tylin+ Techni/uesClave0Timin+ - Advanced Techni/ues General TopicsReturn to Table of ContentsThe Dances in this section are also referred to as Spot Dances. Another term is Stationary or Static. They have, as part of their, "Character," the fact that they are non-progressive. All of the dances above are danced in one spot on the foor. As soon as you attempt to travel, the Character and Technique sufer.Sin! is not a ""atin Dance per se." #oever, a number of ""atin techniques" are danced, the same in the Sin! as in the other "atin dances. $ ill start this section by coverin! the "Character" of the "atin Dances. $ncluded in the Character is . . . %osture, %oise, &alance, Arm %osition, #ead %osition, 'elative %artner positions, etcetera.The order that $ present the material for both the be!inner and advanced dancer ali(e is to establish several basic precepts. These precepts are based on the theory that hether you are a ne person startin! dancin! for the )rst time or you have been dancin! for many years, there are some items that have to be cleared up in the )rst severallessons. $ )nd it absolutely imperative that the body of both of the partners must be "*uiet", "Self Supported", "+luid", and ithout any ",$diot- synchrocies." These idiosyncrasies often stand in the ay of alloin! the proper position or in the case of movin!, the movement necessary to dance comfortably. $f $ can tone don the upper body and (eep it in a basically !ood position throu!hout the patterns in the be!innin!, addin! bac( into the equation the stylin!-s that allo you to en.oy the dancin! but not inhibit the correct overall performance, is easily accomplished. $t ill sometimes appear that $ may leave out some thin!s, or possibly not even cover them at all. This is not the case. $ (no that some thin!s ill ta(e care of themselves if left to their on devices. $f, hoever, there are still some areas in the techniques that seem to be missin! $ recommend that you !o bac( to the be!innin! and quic(ly !o over the techniques already covered. This, $ am con)dent, ill eliminate most problem areas in most dancers. PostureReturn to Table of ContentsStandin! up strai!ht, as in the Smooth and /ovin! dances is a !ood place to start. 0ou should have a vertical line from the feet to the head. The muscles of the entire body should be )rmly toned. There is a tendency in the techniques of the "%osture," in the "atin dances, to have a sli!htly more rounded feelin! in the upper body. This should be much li(e holdin! a lar!e barrel in front of you and havin! your arms feel as if they ere encirclin! the barrel. This sli!ht diference is a ma.or point in the manner in hich e move in the ""atin" dances. Some !o to an uncalled e1treme and hold the left forearm of the man and the ri!ht forearm of the lady in a vertical position ith the elbos to the rists touchin!. $n my ay of thin(in!, this is a !reat e1a!!eration and causes the loo( to be too much of a caricature of the ""atin +eelin!." $f you ere to !o to a club here a lar!e number of Cuban, %uerto 'icans, etcetera., people are dancin!, the character ould be a lot more subtle. The upper body of the man and lady are still held vertical ith the spine in a line, hoever, the upper body ill have less stretchin! up than ould if you ere dancin! the Smooth Dances. The body may be considered as compressed. $f you !o to the e1treme of bendin! over or cavin! in, in the middle of the body, you ill do more harm than !ood. The posture of the lady is basically the same asthe man. The feelin! of compression is the same. The actual center of balance is li(e the man more than it is unli(e. PoiseReturn to Table of ContentsThe poise of the /an is more evenly distributed over the supportin! foot. 2hen you place the ei!ht on one foot or the other, the distributionof the ei!ht is beteen the #eel and the &all of that foot. The lady-s ei!ht is also evenly distributed beteen the #eel and &all of each foot. 2here the lady-s poise is sli!htly to the left and Sli!htly &ac(ard in the Smooth and /ovin! dances, the "atin dances are substantially vertical strai!hter up and don ith the body more vertical. The positions of the feet are the same as in the /ovin! or Smooth dances. 2here you are facin! in relation to the room is less critical in the "atin dances. $ ill often refer to positions as related to the room becausee must have some ay to (no ho much is turned and hen. 0our position in relation to your partner is still very important. ArmsReturn to Table of ContentsThe "eft Arm of the /an is in the same position as in the smooth and movin! dances. A sli!ht variance is noted by the more inard position of the palm of the left hand. 0ou ill feel that the hand is turned in sli!htly. The /an-s 'i!ht Arm is sli!htly more around the bac( of the "ady, much li(e the arm position in the Tan!o. The "ady-s "eft Arm is held in the same position as the Smooth and /ovin! Dances. The "ady-s 'i!ht hand ill be more rela1ed and the man-s hold on the lady-s hand ill be sli!htly less )rm.The positions of the bodies are several inches apart. There is not the solid contact that is found in the Smooth and /ovin! Dances. As a result of the sli!ht separation of the /an and "ady, you ill understand hy the/an and "ady ill have somehat a feelin! of roundness in the arm and upper body positions as the arms move more +orard to accommodate for the additional distance from the partner. This is somehat tempered by the fact that the lady is more directly in front of the man, so he ill notappear to be reachin! +orard for the lady. HeadReturn to Table of ContentsThe head is held hi!h and strai!ht up in the middle of the shoulders. The lady is more vertical in the "atin dances. She ill also have her head held strai!ht up from the middle of the shoulders. The intimate nature of the "atin dances ill have both the man and lady loo(in! into the eyes more often than not. A romantic feelin! is pro.ected by the partnership. &ecause of the closeness and pro.ection of the emotional feelin!s of the partnership the head movements ill be moved in a diferent ay than in the /ovin! and Smooth dances. Sometimes there ill be a coy or shy appearance. Sometimes there ill be a loo( of passion and intensity. This afects the head and its movements. A!ain . . . "$f you see it, it is ron!333" ould be a !ood !uide in ho the head is positioned and moved in relation to the body. &ecause of the emotional closeness, the 'elative positions of the bodies of the /an and "ady are very important. As e continue, you ill understand some of the thin!s $ have .ust discussed, and the reasonin! for this ill be self4evident.elative positions of the !an and "ad#Return to Table of Contents$n the "atin Dances, the lady is almost directly in front of the man. There is a sli!htly leftard position in relation to your partner, but this is less than the Smooth and /ovin! Dances. There are times hen you ill be in contact ith your partner in a similar manner as discussed in the Smooth and /ovin! Dances. &ecause of the nature of the dances, this ill not be often. 0ou ill be in contact and then apart, in contact, and apart throu!hout the dances. A notable use of the contact is in the Samba hen you do the "Samba 'olls."As in the Smooth and /ovin! Dances, you must also ma(e very subtle chan!es hen movin! from 5pen %osition to Closed %osition or %romenade %osition to Closed, etcetera. "%anca(in!" is still a problem hen movin! from one position to the ne1t. There are times, hoever, hen . . . +or the sa(e of stylin! a radical departure from the norm may be used. The same rule to remember "$f you see it, it is ron!," still applies.There are also many times that you ill be completely at arms len!thor completely separated ith no contact at all. 2hile doin! these step patterns on your on, you ill still have to be in sync ith your partner. &ecause of the "5pen 2or(," as it is called, there ill be many times hen you ill be doin! patterns completely diferently from your partner. The movement from one position to another still must be connected to the dance by the Character, 'hythm or Timin!. All the rules do not !et thron out the indo .ust because you are not physically connected ith your partner. There still is a stron! emotion connection and each partner should be dancin! with the other. Closed PositionClosed Position in the "atin danceseturn to Table of ContentsStart ith the feet 6 to 7 inches apart, ith the balance beteen the balls and heels of the feet. 2hen you start you ill ma(e a concerted efort to balance yourself on one foot or the other. 0ou must be on one foot or the other. %ositionin! your ei!ht beteen both feet ill drive your partner cra8y as they attempt to try to )!ure hich foot is no !oin! to move. 0ou ill positively move your ei!ht to one foot or the other befo