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Office Depot. Easy Photo Frame. AT Screen Thief. Echofon for Twitter. Check Printer. Service Pack 2 para Windows Vista. Your review for ChaCha -. Such a cue does two things: it allows us to start with the lead foot, and it gets us started into the figure-8 patterns with the underarm turn.
Essentially, we do a half basic, begin an alemana turn, and then the man releases lead hands and turns right into the follow-my-leader actions. The alemana turn becomes the first measure of the follow my leader for a total of 6 measures. The second two measures might be repeated if your back isn't quite dry for a total of six measures. This figure seems to me fundamentally similar to the Full Moon that we have in Rumba and in Bolero.
The develope is actually the woman's "knee, kick," and it can be done from almost any position, with either foot, with a variety of different entry actions, and occasionally even the man will attempt to do one.
When doing a locking cha, turn the toes out and touch the big toe of the locking foot to the heel of the forward foot. In this way, you hold your arm firm, and the body movement gives a little push to lead her hip twist.
Some women like a delicate, demure look at the end of a hip twist, drawing the left knee across the right thigh in a sort of Marilyn Monroe pose, but others like more strength with the left knee forward in a press and the right hip back, like a drawn bowstring ready to launch into the fan or whatever comes next. This is a two-measure figure.
If you begin with the man facing the wall, at the end of the first measure, you will be in a tight L-position but with good upper-body connection, the man still facing wall. Now, the man steps side and back R with just a little left-face turn to lead the woman to step forward L down LOD. As of this writing, this is not a RAL standard. Furthermore, the crossing step cancels out the progression to reverse of the side step, so he can stay a little closer to his partner.
There are two "official" ways to do the Umbrella Turn. The original figure was created by Jerry Packman in for his dance, Domingo. It is a neat figure, but for some reason, it didn't catch on at the time. The two versions are the same in their beginning and ending positions, but the woman's turning is done very differently. In both there is the smaller turn to face in measure 4. And, just so you definitely have more choices than you really want, let me describe a third way to do the umbrella turn.
The man still does his forward and back footwork, but the woman turns sharply on the last step of the cha instead of on the rock, recover, or on the first step of the cha. Both Roundalab and choreographers have shown us that we can make our turns just about wherever we like and still call it an umbrella turn. The Andersons' Love Potion 9 has a neat "box with cuban breaks" in it. The dance begins with three threes;;;; and box with cuban breaks twice;;;; Do a forward, side, single cuban with lead foot; back, side, single cuban with trail foot; repeat;;.
In a double cuban, you end with the same foot you started with. In the continuous double cuban, you start with the trail foot and end with the lead foot free. This is really a jive figure, but it has the triple timing, and it inserts a bit of calm into an otherwise latin sequence.
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Goss' La Pura does a lot with sailor shuffles, too. In part B, we have just done a chasse to reverse and have lead foot free, facing wall. Then, we point the lead to line for 3 beats, do 3 sailor shuffles, point trail foot to reverse, and 3 more sailor shuffles;;;; point lead, 3 sailors, point trail, 2 sailors, point lead;;;; to an open hip twist;.
In the Dois' Lover's Concerto , part A begins with an alemana, woman overturned and man transition to end side by side facing the wall both with R foot free;; hip twist chasse; ronde chasse; hip twist chasse; and a hockey stick ending man transition again to end in left open facing position wall;.
The second and third measures continue this stepping pattern. The man will begin the second measure with a swivel on the L and then step R. You continue to turn as a couple about two full turns. The choreographer will designate a destination or a subsequent figure. In the Goss' Bandido Cha , there is a natural opening out; to a two-measure reverse top;; to an aida; rock and cha to face; spot turn; single cubans; double cuban; spot turn;. In the McGees' Intako Cha , part B begins with an alemana to a lariet;;;; hand to hand three times;; back into the aida; switch to a single cuban break; spot turn; and shoulder to shoulder twice;;.
This sequence emphasizes that the "switch" is really that first side step to face, and then a variety of things can follow. Dance Figures.
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Dance Links. Instructional Books and Videos from Amazon. Page Contents. Steps and Actions That Make Up the Figure Each description focuses on the man, with the woman's footwork in parenthesis. Here are some sequences to help you visualize the figure in context. On forward steps, keep your body upright, and don't overwhelm your partner.
Sometimes, she can feel like an ocean swimmer suddenly tumbled over by a big breaker. Similarly, on back steps, maintain forward poise. In the Moores' Cha Cha Torrero , there is a basic;; half basic to a fan; alemana;; to an open break and hold;; In Great Balls Of Fire by the Woodruffs, part A begins with a half basic; aida; switch cross; traveling door;.
Closing step may be replaced with a locking step. In the Rumbles' Bahama Mama , we are in left open position both facing line woman on inside of circle trail feet free, and we walk to line; new yorker to line; underarm turn man face center; to an open hip twist; and fan; man still facing center. In Lefeavers' Hippies's Cha sic there is a half basic; whip to low butterfly man facing line; progressive walks to line twice;; One could then walk four curving to face the wall; and go into a strolling vine;;.
Moon Walk ; Video Clip from videojug. From almost any position, step away from partner on the lead foot. If you begin in closed position facing wall or semi-closed position facing LOD, the man turns LF and steps L toward line and center woman turns RF and steps R toward line and wall. The next figure is usually some kind of dance back together again. You might circle together giving you your lead feet free again ; or you could strut 4 back together giving you your trail feet ; so you could do a cucaracha; and then alemana;;.
Usually, you have just Circled Away see above and so are back-to-back and apart from each other, with trail feet free. Do a sliding door twice;; figure 8;;;; for a merengue basic M facing wall; and cucaracha twice;;. We dance a cha cha wheel; continue, woman spin RF to face partner and COH; basic;; cross body;; to a new yorker;. In the Schmidts' I Need To Know , there is a hand to hand; aida; switch cross; side walks;; and a cucaracha;. The Prows' Like I Love You begins part A with a sliding door to face center; crab walks toward line; fence line; spot turn to open; sliding door to face wall; crab walks toward reverse; fence line; to a whip to triple chas;;.
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In Scotts' Then What , part A begins with a cha box;; vine two, face-to-face; vine two, back-to-back;. In Chilly Chilly Cha by the Shibatas, the dance begins with a do-si-do;; pat-a-cake with right hands M transition to face; aida to line; flick kick fwd cha; cross unwind to face; turkish towel;;;;. This is an interesting combination of a crab walk to reverse, a backing cha measure, a crab walk to line, and a forward cha measure. In Maria Bonita by the Hoffmans, the dance has an alemana:: box the crab;;;; to a full basic;;.
May be done in other dance positions and other facing directions. In Oren's He Ain't Worth Missin' , there are crab walks toward reverse;; new yorker to end in open position facing line; walk 2 and cha; circle away and together;; alemana;;. The New Yorker is a leisurely figure. In comparison, Quick New Yorkers move. In butterfly, both step through to a side-by-side position. Recover quickly, and step side to butterfly again. Begin with either foot. Of course, two quick new yorkers, one to reverse and one to line will put some excitement into your routine, and Bill and Carol Goss have created a great sequence that begins that way, in their "disco" cha, You Should Be Dancing : quick new yorkers; new yorker ronde transition; ronde chasse; hip twist chasse; solo fence line with arms; spot turn arms up; solo fence line with arms; spot turn arms up transition; ending in facing position wall.
Speaking of John Travolta just above right , we now have a figure named after him. It is done in a "press" position—weight is on the trail foot, trail leg locked at the knee, lead foot a bit forward with just a little pressure into the ball of that foot, heel off the floor.
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