After finishing the Samba you see the couples picking there floor positions for the Cha Cha
which indicated that the Cha Cha does not travel in its choreography. The competitors have now
the opportunity to select their favourite space on the floor.
The are seeking for contact with the audience, they know that, the feedback from the audience
will stimulate them even higher in their performance, consider that the Cha Cha is a "cheeky"
and "lively" dance, any spontaneously stimulation works... positively on the dancers.
The dancers wil in their choreography emphasise the leg and feet actions with the associated body shape actions
which are here more important than in the previous dance, the Samba.
Best Regards
Piet Rullens
Attention: This Information,
may not be reproduced without our written permission
signed: © Piet Rullens, Rullens Dance Consultancy
1996 all rights reserved For reactions and messages send your mail to:
piet@rullens.com
Cha-Cha-Cha is developed from the Mambo and a Latin dance that most people like to learn first.
The name Cha Cha Cha is a sound imitation of the "shoes"
from dancing Cuban women. The Cha Cha Cha was first seen in America and came to Europe almost
at the same time with the Mambo the forerunner from the Cha Cha Cha. After the World War II the Mambo was pushed aside
by the Cha Cha Cha which became really popular at 1956.
According to its roots the Cha Cha Cha music should be played passioned without any seriousness
and with staccato allowing the dancers to project an atmosphere of 'naughtiness" to the audience.
Recently it was decided to shorten the name to Cha Cha, Sorry but I don't see any reason for that.
- Character: Cheeky, Lively, Passioned
- Movement: Stationary, Couple moves into opposite and shared directions
- Timing: 4/4
- Bars/min: 30 according the IDSF Rules
- Accent: On the first beat
- Competition: 1,5 - 2 minutes
- Rise and Fall: Nil
- Dynamics: Timed motions, Sudden, Heavy direct and free movements
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In this dance the emphasis is on the Legs and Feet. the choreographic structure should
not allow to many travelling and must be well balanced in audience capturing directions and patterns.
Great attention should be paid to the "Time" aspect of each motion.
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I have found my personal favourites, this time some individuals are on the list:
- Nadia Eftedal
- Hans Galke and Bianca Schreiber
- Michael Wentink and Beata Onefater
- Louis van Amstel and Julie Fryer
- Olga Mueller Omeltchenko
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The CD's that flow into my mind when writing this page are the following:
- "Love Potion nr 9." Hanzel Martinez.
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