The Cha Cha ChaA relatively late introduction to the competitive latin dances, the cha-cha is a combination of rumba and mambo. It is energetic, combining fast and defined foot movement with expressive and equally fast and precise body and arm movement. The cha cha cha hip action is danced on 4 and 1 of the bar and is expressed in some way in virtually all figures danced.
It is a 'cheeky' style of dance often performed teasingly towards the audience and each other in competition or show. |
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The RumbaSlow and sensual, the rumba requires great poise and balance. Strong and expressive arm, back and torso movements combine with precise footwork to allow the dancer to convey a seductive sensuality, whether to their dance partner or someone else! It is marked by the subtle responses to the mood of the music, with some faster groups linked with deliberately slow periods.
It is related in its timing, and indeed in its basic structure, to a slower variant of the Cha-cha. |
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The SambaThe dance of the Rio Carnival, the samba is danced with energy and passion and a smile on the face. A real party feel should be expressed!
Lively in its nature, with expressive figures, as one of only two 'progressive' Latin dances it proceeds around the dancefloor at a fair pace. Speed of both bodies and legs is required to do this dance justice and is punctuated by the distinctive 'tick' of the middle body action. |
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The Paso DobleEach dance tells a story. The Paso tells the tale of a toreador in the ring (the man), with his partner representing the cape, so be swirled and displayed. It requires clear and defined movement to be performed at speed, and with a feeling of display and a certain level of arrogance. Watch out for grand shapes and lines and the two musical 'highlights' where the drama reaches its climax.
This is the second of the progressive latin dances which moves around the floor and it is choreographed precisely to the music, which is a standard bar structure and rhythm played at all international style Latin American competitions. |
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