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Feel confident on the dance floor—step by step! This third edition of Social Dance: Steps to Success will teach you all the moves for 10 of today’s most popular dance styles:
Merengue
Four-count swing and hustle
Waltz
Six-count swing
Foxtrot
Polka
Cha-cha
Rumba
Tango
Salsa and mambo
The first few learning steps in this book introduce you to the foundational skills and concepts you need for success on the dance floor.
Each step you take is a smooth transition from the previous one. As you progress, you learn not only how your posture and footwork affect your balance but also how to connect your footwork with the music, adjust to a partner, make the transition between partner positions, and create sequences from variations of each dance’s specific rhythmic step pattern.
Each of the steps also explains why the concept or skill is important, indentifies the keys to correcting technique, helps you avoid common errors, and provides drills to practice at your own pace. The later steps show how to demonstrate dance etiquette, including how to adapt to a crowded social dance floor. Best of all, the enclosed DVD provides you with 93 minutes of video demonstration and a music soundtrack with 19 tracks for practice and demonstrations of key movements, footwork, and the dances themselves.
Written by master teacher and dancer Judy Wright, this special book and DVD package is part of the best-selling Steps to Success activity series, with more than 2 million copies sold worldwide.
Part I What Every Dancer Needs to Know: Building a Solid Foundation
Step 1 Posture, Frame, and Centering: Looking Like a Dancer
Step 2 Music Structure: Hearing Reliable Cues in the Music
Step 3 Dance Rhythm Strategies: Connecting With the Music
Step 4 Partner Dynamics and Etiquette: Communicating Effectively
Part II 10 Social Dances: Rhythmic Step Patterns, Transitions, and Variations
Step 5 Merengue: Joining the Party
Step 6 Four-Count Swing/Hustle: Keeping the Rhythm
Step 7 Waltz: Moving Stately
Step 8 Six-Count Swing: Looking Jazzy
Step 9 Foxtrot: Dancing Regally
Step 10 Polka: Having Fun
Step 11 Cha-Cha: Being Flirtatious
Step 12 Rumba: Reflecting Romance
Step 13 Tango: Expressing Attitude and Flair
Step 14 Salsa/Mambo: Adding Spice and Flavor
Part III Etiquette On the Dance Floor: Adding the Finishing Touches
Step 15 Dance Floor Etiquette: Moving From Practice to Social Dance Settings
Step 16 Turn Technique, Styling, and Timing Options: Looking Good
Judy Patterson Wright earned her PhD in 1981 in motor learning and motor development from the University of Illinois at Urbana-Champaign, where she focused on the learning process for sequential dance skills and how teachers may facilitate that process. She is an accomplished dancer and educator who has taught social dance at the junior high, high school, college, and community levels since 1971. Dr. Wright's dance experience includes tap, jazz, modern, ballet, social, folk, square, country Western, line, and aerobic dance. She specializes in ballroom and social dance in which she has extensive experience as a competitor, coach, author, and instructor. She has taught courses at Walsh College in Ohio, the University of Illinois at Urbana-Champaign, the University of Tennessee at Chattanooga, Richland Community College in Illinois, and the Wright Way Dance Studio, which she co-owns. She has also presented workshops at the state and national levels for the National Dance Association and AAHPERD, the National Teachers Association for Country Western Dance Instructors, and the National Dance Educators Organization.
Wright has judged and competed in dance competitions and specializes in teaching progressive classes and workshops for both social and competitive dancers. Wright and her husband placed second overall in the UCWDC Silver Advanced Showcase Division at the world finals in both 1996 and 1997. They are the 2009 UCWDC couples gold combined world champions. They also won first place in both strictly swing and strictly hustle at the 2012 world finals in Orlando, Florida. In a career spanning 23 years as an acquisitions editor for Human Kinetics, Wright created the format for the Steps to Success activity series (of which her book is a part) while acquiring numerous books related to dance and exercise and remaining active in the dance community. She resides in North Carolina, where she is a member of the Charlotte USA Dance chapter, the Carolina Ballroom Dance Club, and Lynn’s Dance Club.
“Social Dance is a must-have for all dancers. Judy Wright covers the essentials of performing both smooth and rhythmic dances in this fun and engaging text.”
Pamela Haibach, PhD-- Associate Professor, College of Brockport
“With more dances, enhanced diagrams, an instructor guide, and an accompanying DVD featuring dances and music, the third edition of Social Dance is a must-have for students. Social Dance makes learning fun!
Judi Fey-- Dance Consultant, Anne Arundel County Public Schools
"Judy Wright is an exceptional teacher, and her ability to explain proper technique in an easy-to-follow way makes Social Dance a must-have book."
Christy Lane-- Dance Educator and Producer, Author of Christy Lane’s Complete Book of Line Dancing
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.
Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
Learn more about Social Dance.
Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
Learn more about Social Dance.
Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
Learn more about Social Dance.
One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
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Moving like a dancer
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence.
Simply being aware of your posture while standing is only part of the image that you present to others. Dancers are movers. Thus, how you carry yourself while moving, which you do when you are walking or taking a series of dance steps, also says volumes about your self-confidence. The topics in the following sections are discussed separately, but you need to put all of them in action when you do the drills at the end of this learning step and later when you step on the dance floor.
Posture
People often think of correct posture as they think of the weather: Everyone talks about it, but what can they do about it? If you aren't aware of your posture, then now is the time to check it and correct it. Visualization techniques are particularly effective ways to learn how to align your body. Try both of the following images. Which one helps you visualize proper vertical alignment? Perhaps other images come to mind.
- Stand with your hands at your sides, your feet no more than shoulder-width apart, and your knees slightly flexed. As if you are balancing large blocks on top of one another, position your hips, shoulders, and head directly above your feet. Look forward with your head erect. It is helpful to look at an object that is at eye level. Think of expanding your shoulder blades, contracting your abdominals, and lengthening (rather than arching) your lower back. You are now in proper standing alignment.
- Imagine a plumb line (a string suspended from the ceiling with a weight on it to keep it vertical) hanging along one side of your body. Adjust your posture so that the outside of your ear, shoulder, hip, knee, and ankle aligns parallel to the string. Check that your weight is evenly placed over both feet, your eyes are level, your spine is straight (especially your neck vertebrae), your shoulders are relaxed and down (not raised or lifted), your abdominals are firmly engaged, your hips are level, and your lower back is slightly and naturally curved (not hyperextended).
Figure 1.1 shows proper standing alignment with the hips and eyes level.
Frame
Standing in good alignment is your first step toward understanding the concept of frame. The term frame refers to the placement of your arms in relationship to your torso, shoulders, and head. Often dancers don't know what to do with their arms. The narrower your base of support, the more important it is to lift your arms and to look at a point in space that is at eye level—like a tightrope walker! However, it is not necessary to extend your arms out horizontally to mimic the tightrope walker. Rather, you can improve both your balance and your appearance if you flex your elbows, lift them slightly away from the sides of your body with palms facing down, and keep them in front of your body rather than let them move behind your body. This arm positioning is an example of individual frame (see figure 1.2). Keeping your individual frame helps to eliminate wasted effort (rather than lowering and extending your arms then bringing them back into position again). Keeping your frame with a partner helps to define and maintain the space between you and your partner. Ideally, each partner is responsible for half of the shared space (see figure 1.3).
A typical frame error occurs whenever you move your arms independently of your shoulder girdle. For example, a common frame error, called spaghetti arms, occurs when the elbows extend behind the body. Leading and following are enhanced when your arms, shoulders, and sternum (your frame) work together as a unit, but leading and following are ineffective if either partner's frame is not established and firm. You'll soon find out that leading and following are more than a matter of pushing and pulling with one's arms and hands. Rather, you need to use your whole body (and frame) to non-verbally communicate with your partner.
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Connecting with a partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Connecting With a Partner
When you dance with a partner, you are sharing space that includes both of you. The basic partner positions used in this book are commonly used in social dancing (see figure 4.1, a-i). Each partner position described in the following paragraphs requires you to connect with a partner in a slightly different manner.
Shine Position
The shine position (figure 4.1a) is used whenever you are facing a partner but not touching hands. It is called shine because each partner has more freedom to express him- or herself when apart and not touching. Another interpretation of the shine position is that a spotlight is shining on your chest and you are in the spotlight to present your moves with flair. The shine position is typically used in the cha-cha and the salsa/mambo.
Two Hands Joined
In the two-hands-joined position (figure 4.1b), the partners face each other at a comfortable distance apart. The leader opens his palms for the follower to put her hands into them with the palms down. The leader then gently grasps the follower's hands. Avoid gripping too tightly. A modification of this two-hands-joined position is used in the cha-cha. Specifically, the leader separates his thumb from his fingers with his palms down (as if wearing a hand puppet), extends his elbows out from his sides slightly and grasps the follower's hands on each side with his thumbs under her palms.
One Hand Joined
Start with two hands joined, then release one hand (figure 4.1c). Typically, this position is used for leading either sideways or rotational moves. For example, the leader's left hand may be brought across his midline toward his right side, or conversely, the leader's right hand may be brought across his midline toward his left side.
Inside Hands Joined
This position (figure 4.1d) is most often used in the polka. Stand side by side with your partner; the leader is on the left side. The leader extends his right hand, palm up, toward his partner. The follower places her left hand, palm down, in his hand. Another characteristic of the polka is for each partner to place the outside hands on the hips.
Closed
The closed position (figure 4.1e) is a very regal position reflecting the origin of ballroom dancing in the royal courts of Europe when soldiers wore swords on the left hip. Thus, the follower is positioned more on the leader's right side so as to keep the sword out of the way. An offset position also keeps the leader from stepping on the follower's toes and from stepping around the follower with his feet too widely spaced. In social dancing and within the American styling, the closed position, or closed hold, consists of at least four points of contact between partners: The leader's right hand is placed on the follower's left shoulder blade; the follower's left arm is gently placed on top of the leader's right arm; the follower's left elbow is resting on, or slightly touching, the leader's right elbow; the leader's left hand is extended with palm up for the follower to place her right hand with palm down. The clasped hands are held approximately level with the follower's shoulders when in closed position.
In international style, an additional contact point is required; that is, the right side of each partner's diaphragm must be touching. Because the international styling requires closer contact, it is not commonly used on the social dance floor, especially when dancing with a variety of partners. In Latin dances, the closed position is modified to have the forearms almost touching. Also, the clasped hands are held higher, approximately level with the leader's left ear.
Promenade, or Semiopen
This position (figure 4.1f) is a modified closed position with outside shoulders angled toward the joined hands. To get into the semiopen position, keep your frame firm as both partners rotate the lower half of their body to face their extended hands. Both partners look toward the extended hands.
In the swing, the joined-hand position changes slightly such that the hands are lower and the leader rotates the fingers of his left hand clockwise approximately 90 degrees to have his thumb on top before grasping his partner's fingers.
Sweetheart
This position (figure 4.1g) is used in the polka and the cha-cha. Other names for this position include cape and varsovienne. It starts with a right-to-right hand grasp. The leader then brings his right hand to his right side to guide the follower in front and to his right side. The follower's palms are facing out and placed at approximately shoulder height. The leader's fingers gently connect with the follower's fingers. The follower stands approximately a half step in front of the leader.
Parallel Left and Parallel Right
The two parallel positions are based on the leader's position. Start in a closed position, then modify it by bringing the follower to one side of the leader. For a right parallel position (figure 4.1h), bring the follower to the leader's right side. The leader's right shoulder is next to the follower's right shoulder. For a left parallel position (see figure 4.1i), the follower stands outside the leader's left side with left shoulders closer together and parallel.
Notice that within each position a center point exists between the partners. If either partner gets too far away from or too close to the other, it is more difficult to lead and follow. You can use your arm positions to give your partner a reference base for where you are. If you permit your arms to hang freely at your sides whenever you are in an open or apart position, it will be difficult to find your partner's hand whenever a hand grasp is needed. Or, if you bend your elbows and keep your forearms more parallel to the floor, you are splitting the distance between you and your partner such that your hands can meet in the middle, such as in a two-hands-joined position. Thus, your arm placements, or positions in space, provide a frame that defines your personal space. Following are three example situations where one's frame affects how partners connect with each other.
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Rhythmic Step Pattern for Cha-Cha
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction.
Rhythmic Step Pattern for Cha-Cha
The rhythmic step pattern for cha-cha combines a break step (two weight changes in two counts to execute a change of direction that propels the body in a new direction on each step) with a triple step (three weight changes in two counts) that is executed twice for a total of eight counts. The break step is an agility move that alternates a forward-to-backward or a backward-to-forward direction change. The triple step is called the cha-cha-cha steps. The downbeat in cha-cha music occurs on count 1, or the first beat of each four-beat measure, while the break step occurs on counts 2, 3. The styling of breaking on count two fits the music best, which changed in the 1980s. A common way to count the cha-cha rhythmic step pattern starts with the break step as follows: 2, 3, 4, &-1. Because it takes two measures, or eight counts, and two repetitions of the cha-cha rhythmic step pattern before your starting foot is free again, you may count each measure using the cues 2, 3, 4-&-1; 2, 3, 4-&-1. Or, alternatively, you may count two measures of music together as follows: 2, 3, 4, &-5, 6, 7, 8, &-1 which places the forward break step and replace step on counts 2, 3, and the backward break step and replace step on counts 6, 7. Either method of counting the two measures is acceptable.
The cha-cha-cha steps (triple step) may be executed while traveling to either the right or the left side or in a forward or in a backward direction. When you move to the side, you are following an H-shaped floor path (see figure 11.1). This floor path is very versatile for sideward travel and offers many variation options. Thus, the basic H floor path is considered home base for executing the cha-cha rhythmic step pattern. Come back to the basic H floor path after doing selected cha-cha variations that will be covered in the drills.
Both partners execute the cha-cha rhythmic step pattern by splitting it into two halves defined by the direction of the break steps: a forward half basic includes a forward break step, and a backward half basic includes a backward break step. The follower does the mirror reverse. For example, when the leader is breaking forward, then the follower is breaking backward. And, when the leader travels to his left side on the cha-cha-cha steps, the follower is executing them to her right side, and vice versa. Each direction for the break step is described separately. Each half basic takes one measure.
Forward Half Basic
Your left foot should be free to initiate the forward break portion of the cha-cha rhythmic step pattern that completes half of the basic H floor path. For the first weight change on count 2, place your left foot forward and shift your weight onto that foot. For the second weight change on count 3, shift your weight back onto your right foot using a replace step by lifting and lowering that foot in its original location. Throughout the break step weight changes, keep your upper torso centered above both feet, rather than letting your upper torso move beyond your base of support. Your left foot is now free to execute a triple step (stepping left, right, left) on counts 4-&-1 as you move either to your left side, or backward, on the cha-cha-cha steps.
Backward Half Basic
Your right foot should be free to initiate the backward break portion of the cha-cha rhythmic step pattern that completes half of the basic H-shaped floor path. For the first weight change on count 2, place the ball of your right foot slightly behind the heel of your left foot and transfer your weight onto only the ball of your right foot yet place your whole foot on the floor as you slightly lift your left foot off the floor. On the second weight change on count 3, transfer your weight forward onto your left foot, replacing your weight and keeping that foot in its original location. As you execute the backward break step, you need to keep your upper torso centered above both feet, much like an agility drill so that you can quickly shift your weight, or like marching in place. Now your right foot is free to execute a triple step (right, left, right) on counts 4-&-1 as you move either to your right side, or forward, on the cha-cha-cha steps.
The rhythmic step pattern for the cha-cha may be initiated from a shine position, a one- or two-hands-joined position, or a closed position. Figure 11.2 shows various ways that you might organize the counts and footwork for repeating the eight-count cha-cha rhythmic step pattern. Some cues will be more helpful to you than others. Select those cues that most help you retain how to execute each half of the rhythmic step pattern whether traveling to the side, or alternating forward and backward, on the triple step. Notice that the forward half basic always starts with your left foot (and a forward break), while the backward half basic always starts with your right foot (and a backward break).
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One-hand around-the-world variation
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba’s SQQ rhythm.
Drill 9
One-Hand Around-the-World Variation
In this variation, the leader is the world and the follower moves around him. It starts with a slow underarm turn, except the leader brings his left hand over his head as if looping a lasso to guide the follower completely around his body. The follower does forward walks in rhythm while traveling in a small circle around the leader. The one-hand around-the-world variation takes eight SQQ basic steps. The leader does the box step (the equivalent of eight half-box steps or four box steps).
From a closed position, both partners do a half-box and a slow of the second half-box when the leader lifts his left hand and arm to form an arch. The follower moves CW under the arched hands on the quick, quick. At this point, the leader keeps his right hand on the follower's back as she goes under the arch and maintains contact as he continues to gently guide her in a small CW circle (see figure 12.2a).
To maintain the momentum, the leader keeps his left hand high and brings the follower to his right side, then guides her behind him as his left hand goes over his own head as if looping a rope (see figure 12.2b). On the seventh half-box, the leader does a left quarter turn to face his partner (see figure 12.2c) and resumes a closed position again on the eighth half-box (see figure 12.2d).
To Decrease Difficulty
- Practice just the leader's arm movements without any footwork.
- The follower can take her time moving around the leader.
To Increase Difficulty
- Randomly alternate the slow underarm turn and the around-the-world variation.
- Vary the total number of basics used. For example, rotate to face the follower on the fifth half-box.
- The leader may delay moving to closed position by keeping his left hand high on the seventh (or fifth) half-box to signal another underarm turn for the follower, then resume a closed position.
Success Goal
Perform the one-hand around-the-world variation to rumba music. ___
Success Check
- Simultaneously, after the leader's left-hand arch, his right hand guides the follower as he brings his left hand to his right side and over his own head. ___
- The follower moves in a circular path clockwise around the leader. ___
Drill 10
Cross-Body Lead
The cross-body lead is a useful transition to smoothly connect many variations as well as to rotate 180 degrees with your partner. Start in a closed position and do a box step. The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
Both partners do the first SQQ (the leader does a forward half-box, while the follower does a backward half-box). On the second SQQ, the leader angles his right foot along his back, diagonal direction during the slow step. He may either keep his left hand firm or he can turn over his left hand CW and lower his left arm to indicate that a new lead is coming. On the quick, quick, he steps with his left foot to his left side, then he rocks back on his right foot with feet together. The leader will be facing the side wall. Thus, the leader's shoulders are perpendicular to the follower's shoulders as she will move down the slot opened by the leader. Preceding his next forward slow with his left foot, he rotates a quarter turn to face the follower (and to face the back wall) and finishes his quick, quick steps. Then, he may either repeat the cross-body lead or lead another variation.
After the follower's backward half-box (first SQQ), she uses three forward traveling steps (left, right, left) with a swivel at the end to face the leader (second SQQ). She needs to pass her feet on each step (with the toes of alternating feet in front) and maintain the rhythm as she travels down the slot. A common error is to rotate too soon to face the leader. The follower needs to keep her left shoulder perpendicular to the leader's shoulders as she travels forward down the slot opened when the leader's left shoulder rotates a quarter turn on the second SQQ.
To Decrease Difficulty
- The cross-body lead takes two repetitions of the rumba's SQQ rhythm.
- The leader angles to rotate a quarter turn on the second SQQ.
- Practice your part independently from your partner using the walls as references. For example, the follower faces the back wall, then the front wall, while the leader faces the front wall, his left side wall, and the back wall.
To Increase Difficulty
- Practice with a variety of partners.
- Combine a box step, a cross-body lead, two forward half-box progressions, then a side step into either forward parallel breaks or fifth position breaks.
- Add an underarm turn after the cross-body lead.
Success Goal
Alternate a box step with a cross-body lead to rumba music for 2 minutes. ___
Success Check
- Keep transitions smooth. ___
- Maintain the rhythmic pattern.___
- The leader faces the front wall, his left side wall, then transitions to face the back wall. ___
- Two SQQ repetitions are used in the cross-body lead. ___
- The follower travels forward down the slot on the second SQQ and swivels to face the leader after her second quick. ___
Learn more about Social Dance.