CHA CHA

Type: American Latin Dances, International Style Dances (Latin)

Description
This is a fun, flirty dance that grew out of the Cuban Mambo and became immensely popular in the United States
in the 1950’s. It consists of triple chasse steps (cha cha cha’s) and rock steps.
Cha Cha has a modified Cuban Motion hip action, because of the speed. This is an exuberant dance that will get
your heart pumping and put a smile on your face.

History
Cha Cha originated in Cuba and evolved from a slow version of Mambo called “Triple Mambo” or Mambo with
guiro rhythm.  This musical rhythm inspired dancers to dance a hip syncopation to the forward and back breaks of a
mambo which late evolved to a triple step.
Mambo evolved from a fusion of danzon, son and American jazz.  Danzon has its origins from Europe (chamber
music) and African/Haitian drum rhythms. Enrique Jorrin, a Cuban Violinist created the first cha cha song in 1948.  He
named it after the shuffling sound the dancers shoes made when they dance to this type of music.
In 1952, an English dance teacher Pierre Lavelle visited Cuba and saw dancers dancing this triple step to slow
rumba and mambo music.  On his return to Britain, he taught this as a separate dance and it has since evolved to
Ballroom Cha Cha.
Cha Cha was introduced to the US in 1954 which replaced mambo as the latest dance craze.  After its
introduction to the US, the traditional violins and flutes were exchanged with big band instruments such as trumpets,
trombones and saxophones.

Dance Characteristics
Cha Cha is a lively, fun, cheeky and playful dance.  It is a non-progressive dance that emphasizes Cuban motion,
distinguished by the chasses (cha-cha-cha) typically danced during the 4&1 counts of the music. Cuban motion in Cha
Cha is more staccato than Rumba to reflect the music with emphasis on count 1.  The Cha Cha frame is a typical
Rhythm frame.

Musical Information
Time signature – 4/4
Tempo – 30 measures per minute
Timing – 1234&
Beat value is 1-1-1-1/2-1/2

What Is Salsa?
No, we're not talking about the delicious dip you eat with your tortilla chips. Salsa is a dance and a musical style with deep
Caribbean and African roots. It's very popular in almost all Latin America, and among Latino communities in the United
States. In recent years, this dance has also gained popularity in Europe and in Asia. Maybe you've already seen it, or
even tried it yourself.
The salsa rhythm is widely recognized for being catchy, sensual, and easy to learn, yet very difficult to master. There are
several academies throughout the world dedicated to teaching this dance at different levels of difficulty. There are even
worldwide competitions dedicated to salsa, such as the World Salsa Championship and the World Salsa Open.

ORIGINS & HISTORY OF SALSA

The origins of salsa date back to the 1900s in Eastern Cuba, where musical elements and rhythms from various styles
were combined. Cuban son and Afro-Cuban rumba, the two main styles, used diverse musical instruments to create the
basis of a rhythm that would later become known as salsa.
Almost 50 years went by before this new rhythm reached Havana. There, salsa absorbed influences from other local
Cuban music and from American jazz and continued to evolve. Due to the Revolution in Cuba, many musicians relocated
to the United States, especially to New York City. Among the Hispanic community, these musicians found an ideal
environment to develop their rhythm into what we know as salsa today; this was especially true in ''El Barrio'', also known
as Spanish Harlem.
The definite rise and jump to fame of salsa happened thanks to Fania Records, a record label established in 1964 by
musician Johnny Pacheco and Italian-American lawyer Jerry Masucci. This label became extremely famous, producing
one huge hit after another. Many of the artists who signed with this label are now regarded as legends of salsa,
particularly the team of ''Fania All-Stars''. This group included celebrities such as Celia Cruz, Héctor Lavoe, Cheo
Feliciano, and Rubén Blades, among others.
Fania Records edited the rhythms which originated in Cuba and gave them a sound that was catchier and more easily
accepted by the New York Latin market. To better merchandise their music, Fania called this new sound salsa.
Salsa music is a mix of different Caribbean rhythms and instruments; that diversity provides its unique sound. Salsa
dance has similarly evolved and adapted over the years to better suit the tastes of different localities, leading to the
creation of different regional styles of salsa. Some of the most popular regional styles are:

 Salsa Casino (Cuban style)

 Salsa Casino (Miami style)
 Afro-Latino style
 Cali style (Colombian Salsa)
 Rueda de Casino
 New York style

Considering such a variety of cultures in Latin America contribute to the vast diversity of styles in salsa, it's only natural
that the musical instruments used also change a bit from style to style. A mix of instruments is used in each regional style.
The most common percussion instruments are bongos, congas, timbales, maracas, and cowbells. Among the string
instruments, we see the bass guitar, guitar, piano, violin, and electric guitar. The trumpet, trombone, flute, and saxophone
are brass instruments commonly used.
The influence of salsa grew rapidly to become popular all over Latin America and within Hispanic communities worldwide.

RUMBA

The word Rumba is a generic term, covering a variety of names (i.e., Son, Danzon, Guagira, Guaracha, Naningo), for a
type of West Indian music or dancing. The exact meaning varies from island to island. The word "rumba" comes from the
verb "rumbear" which means going to parties, dancing, and having a good time.

There are two sources of the dances: one Spanish and the other African. Although the main growth was in Cuba, there
were similar dance developments which took place in other Caribbean islands and in Latin America generally.

The "rumba influence" came in the 16th century with the black slaves imported from Africa. The native Rumba folk dance
is essentially a sex pantomime danced extremely fast with exaggerated hip movements and with a sensually aggressive
attitude on the part of the man and a defensive attitude on the part of the woman. The music is played with a staccato
beat in keeping with the vigorous expressive movements of the dancers. Accompanying instruments include the maracas,
the claves, the marimbola, and the drums.

As recently as the second world war, the "Son" was the popular dance of middle class Cuba. It is a modified slower and
more refined version of the native Rumba. Still slower is the "Danzon", the dance of wealthy Cuban society. Very small
steps are taken, with the women producing a very subtle tilting of the hips by alternately bending and straightening the
knees.

The American Rumba is a modified version of the "Son". The first serious attempt to introduce the rumba to the United
States was by Lew Quinn and Joan Sawyer in 1913. Ten years later band leader Emil Coleman imported some rumba
musicians and a pair of rumba dancers to New York. In 1925 Benito Collada opened the Club El Chico in Greenwich
Village and found that New Yorkers did not know what Rumba was all about.

Real interest in Latin music began about 1929. In the late 1920's, Xavier Cugat formed an orchestra that specialized in
Latin American music. He opened at the Coconut Grove in Los Angeles and appeared in early sound movies such as "In
Gay Madrid". Later in the 1930's, Cugat played at the Waldorf Astoria Hotel in New York. By the end of the decade he was
recognized as having the outstanding Latin orchestra of the day.

In 1935, George Raft played the part of a suave dancer in the movie "Rumba", a rather superficial musical in which the
hero finally won the heiress (Carol Lombard) through the mutual love of dancing.
In Europe, the introduction of Latin American dancing (Rumba in particular) owed much to the enthusiasm and interpretive
ability of Monsieur Pierre (London's leading teacher in this dance form). In the 1930's with his partner, Doris Lavelle, he
demonstrated and popularized Latin American dancing in London.

TANGO
Tango is a dance that has influences from African, Native American and European culture.[8] Dances from the candombe
ceremonies of former slave peoples helped shape the modern day tango. The dance originated in lower-class districts of
Buenos Aires and Montevideo. The music derived from the fusion of various forms of music from Europe.[9] The words
"tango" and "tambo" around the River Plate basin were initially used to refer to musical gatherings of slaves, with written
records of colonial authorities attempting to ban such gatherings as early as 1789.[10]
Initially, it was just one of the many dances, but it soon became popular throughout society, as theatres and street barrel
organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of
European immigrants.[11]
Many Buenos Aires city neighborhoods have their particular tango history like for example La Boca, San Telmo or Boedo.
At Boedo Avenue Cátulo Castillo, Homero Manzi and other singers and composers used to meet at the Japanese Cafe
with the Boedo Group.
In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first
European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913,
it hit New York City in the U.S., and Finland. In the U.S., around 1911, the word "tango" was often applied to dances in a 2
4 or 4
4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the
dance, although they might be. Tango music was sometimes played but at a rather fast tempo. Instructors of the period
would sometimes refer to this as a "North American tango", versus the so-called "Argentine Tango". The Tango was
controversial because of its perceived sexual overtones and, by the end of 1913, the dance teachers who had introduced
the dance to Paris were banished from the city.[12] By 1914, more authentic tango stylings were soon developed,[which?]
along with some variations like Albert Newman's "Minuet" tango.
In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito
Yrigoyen government in 1930, caused tango to decline. Its fortunes were reversed as tango became widely fashionable
and a matter of national pride under the government of Juan Perón. Taquito Militar, by Mariano Mores played a
monumental part in the rise of the tango and a major effect on Argentinian culture as a whole. This song was premiered in
1952 during a governmental speech of President Juan D. Perón, which generated a strong political and cultural
controversy between different views of the concepts of "cultured" music and "popular" music, as well as the links between
both "cultures".
Tango declined again in the 1950s, as a result of economic depression and the banning of public gatherings by the
military dictatorships; male-only tango practice—the custom at the time—was considered "public gathering". That,
indirectly, boosted the popularity of rock and roll because, unlike tango, it did not require such gatherings.[13]
Tango postcard, c. 1919
Choreographed stage tango in Buenos Aires
World tango dance tournament in Buenos Aires
The tango consists of a variety of styles that developed in different regions and eras of Argentina as well as in other
locations around the world. The dance developed in response to many cultural elements, such as the crowding of the
venue and even the fashions in clothing. The styles are mostly danced in either open embrace, where lead and follow
have space between their bodies, or close embrace, where the lead and follow connect either chest-to-chest (Argentine
tango) or in the upper thigh, hip area (American and International tango).
Different styles of tango are:
Tango argentino
Tango canyengue
Tango Oriental Uruguayan tango
Tango liso
Tango salon
Tango orillero
Tango camacupense (Angola)
Tango milonguero (tango apilado) (see also "Milonguero")
Tango nuevo (new tango)
Tango Valparaísino (from Valparaíso, Chile).
Tango vals
Milonga
Ballroom tango
Finnish tango
These are danced to several types of music:

Tango
Electronic tango-inspired music
"Alternative tango", i.e. music that is an alternative to tango, or non-tango music employed for use in tango-inspired dance
The milonguero style is characterized by a very close embrace, small steps, and syncopated rhythmic footwork. It is
based on the petitero or caquero style of the crowded downtown clubs of the 1950s.
In contrast, the tango that originated in the family clubs of the suburban neighborhoods (Villa Urquiza/Devoto/Avellaneda
etc.) emphasizes long elegant steps, and complex figures. In this case the embrace may be allowed to open briefly, to
permit execution of the complex footwork.
The complex figures of this style became the basis for a theatrical performance style of tango seen in the touring stage
shows. For stage purposes, the embrace is often open, and the complex footwork is augmented with gymnastic lifts,
kicks, and drops.
A newer style sometimes called tango nuevo or "new tango", has been popularized in recent years by a younger
generation of dancers. The embrace is often quite open and very elastic, permitting the leader to lead a large variety of
very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged "alternative
tango" music, in addition to traditional tango compositions.

WALTZ

Colorful flowing ball gowns! Tails! Weddings! Beautiful music! Strong melodies!

Waltz: from the old German word walzen to roll, turn, or to glide.

Waltz: a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.

Waltz: to move or glide in a lively or conspicuous manner (to advance easily and successfully).

Waltz: a dance born in the suburbs of Vienna and in the alpine region of Austria. As early as the seventeenth century,
waltzes were played in the ballrooms of the Hapsburg court.

The weller, or turning dances, were danced by peasants in Austria and Bavaria even before that time. Many of the familiar
waltz tunes can be traced back to simple peasant yodeling melodies.

During the middle of the eighteenth century, the allemande form of the waltz was very popular in France. Originally
danced as one of the figures in the contredanse, with arms intertwining at shoulder level, it soon became an independent
dance and the close-hold was introduced.

By the end of the eighteenth century, this old Austrian peasant dance had been accepted by high society, and three-
quarter rhythm was here to stay.

However popular the waltz, opposition was not lacking. Dancing masters saw the waltz as a threat to the profession. The
basic steps of the waltz could be learned in relatively short time, whereas, the minuet and other court dances required
considerable practice, not only to learn the many complex figures, but also to develop suitable postures and deportment.

The waltz was also criticized on moral grounds by those opposed to its closer hold and rapid turning movements.
Religious leaders almost unanimously regarded it as vulgar and sinful.

Continental court circles held out obstinately against the waltz. In England, (a land of strict morals), the waltz was
accepted even more slowly.
In July of 1816, the waltz was included in a ball given in London by the Prince Regent. A blistering editorial in The Times a
few days later stated:

"We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at
the English court on Friday last ... it is quite sufficient to cast one's eyes on the voluptuous intertwining of the limbs and
close compressure on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has
hitherto been considered distinctive of English females.

So long as this obscene display was confined to prostitutes and adulteresses, we did not think it deserving of notice; but
now that it is attempted to be forced on the respectable classes of society by the civil examples of their superiors, we feel
it a duty to warn every parent against exposing his daughter to so fatal a contagion."

JIVE

Jive is a lively, and uninhibited variation of the jitterbug. Many of its basic patterns are similar to those of the  East Coast
swing. Jive is one of the five International Latin dances, although it has an African-American origin.

Characteristics of Jive Dancing

Jive and East Coast swing share many figures, as well as the same music style and tempo. The basic look and feel of
jive are that it is performed with lots and lots of energy, with the legs portraying a pumping action. Both the East Coast
swing and basic jive consist of two triple steps and a rock step. The jive differs in that the count begins with the rock step,
which is counted "1, 2." The two triple steps are counted "3 and 4" and "5 and 6." In competition, it is danced at 176 beats
per minute.

History of Jive

Jive was first demonstrated by Cab Calloway in 1934. It caught on in the United States in the 1940s and was influenced
by the Boogie, Rock & Roll, African/American Swing, and Lindyhop. The name either comes from jive being a form of glib
talk or from African dance terms. Jive became a generic term for swing in the United Kingdom.

In International Style ballroom dancing competition, jive is grouped with the Latin dances but it is danced to Western
music, with 42 bars per minute in 4/4 time.

Jive Action

Jive is a very happy, boppy, energetic dance, with plenty of knee-lifting, bending, and rocking of the hips. The fastest of
the Latin dances, jive incorporates lots of kicks and flicks, even twirling of the woman, and doesn't move around the dance
floor l ike other dances. Although jive dancers may appear to be moving their feet haphazardly in every direction, the feet
are actually well-controlled under the body with the knees close together.

Distinctive Jive Dance Steps

The basic jive step (jive basic) is a 6-beat pattern:

 The man and woman face each other with arms in the closed position and the man leads.
 Rock step (counts 1 and 2): Step one foot behind the other and lift the front foot up. The man steps back with his
left foot while the woman steps backward with her right foot.
 Chasse to the left (counts 3 and 4) The man goes left, the woman goes right.
 Chasse to the right (counts 5 and 6) The man goes right, the woman goes left.

A few distinctive Jive steps:

 American Spin
 Throwaway
 Comb
 Chicken Walks
 Arm Breaker
  Jig Walks

Jive Music and Rhythm

Jive can be danced to swing music and jump blues in the tempo range of about 200 beats per minute. Depending on the
style preferred, Jive can be danced to a variety of upbeat music including Boogie-woogie, Swing and Rock and Roll. The
most important thing for beginners is to get familiar with the rhythm of the music. Listen to the drum line rather than the
melody, the drum provides the beat.

THE HISTORY OF SAMBA

Samba, an old Brazilian style of dance with many variations, is African in origin. It has been performed as a street dance
at carnival, the pre-Lenten celebration, for almost 100 years. Many versions of the Samba (from Baion to Marcha) are
danced at the local carnival in Rio. The ballroom Samba or Carioca Samba is derived from the rural "Rocking Samba" and
has been known for many years. (The Carioca is a small river that runs through Rio de Janiero - hence the name Carioca
refers to the people of Rio.) Today Samba is still very popular in Rio. During carnival time there are "schools of Samba"
involving thousands of elaborately-costumed dancers presenting a national theme based on music typical of Brazil and
Rio in particular.

Before 1914 it was known under a Brazilian name "Maxixe". As early as 1923 an international meeting of professors of
dancing took note of the rise of the Samba's popularity, particularly in France. A French dance book published by Paul
Boucher in 1928 included Samba instructions. The dance was introduced to United States movie audiences in 1933 when
Fred Astaire and Dolores Del Rio danced the Carioca in Flying Down to Rio and several years later, Carmen Miranda
danced the Samba in That Night in Rio. A Samba exhibition was given at the November 1938 meeting of the New York
Society of Teachers of Dancing. General interest in the Samba was stimulated at the 1939 World's Fair in New York,
where Samba music was played at the Brazilian Pavilion. A few years later the Brazilian composer Ary Barroso wrote the
classic Samba, "Brasil," which quickly became a hit, and in 1944 he went to Hollywood to write the score for the musical
Brazil.

Samba has a very specific rhythm, highlighted to its best by characteristic Brazilian musical instruments: originally called
tamborim, chocalho, reco-reco and cabaca. Much of Samba music came from daily life in Rio, the first famous example
being "Pelo Telefone" composed by Donga. To achieve the true character of the Samba a dancer must give it a happy,
flirtatious and exuberant interpretation. Many figures, used in the Samba today, require a pelvic tilt (Samba tic) action.
This action is difficult to accomplish, but without it the dance loses much of its effect. Principal characteristics of the
Samba are the rapid steps taken on a quarter of a beat and the pronounced rocking motion and sway of the dancing
couple.

The Samba (also known as the Brazilian Waltz) is now a moderately popular ballroom dance, limited pretty much to
experienced ballroom dancers because of its speed.