Physical Education Carl Ginbert Dizon Munsayac (1-ELM)

*Fundamental Arm Positions*

(http://www.takdangaralin.com/wp-content/uploads/2010/01/image25.png)

Fundamental Feet Positions

(http://andressdance.weebly.com/uploads/5/0/5/1/5051722/2558122.jpg?559)

*History of Cha-Cha*
(http://en.wikipedia.org/wiki/Cha-cha-cha_(dance))

The modern style of dancing the cha-cha-ch comes from studies made by dance teacher Monsieur Pierre (Pierre Zurcher-Margolle), who partnered Doris Lavelle. Pierre, then from London, visited Cuba in 1952 to find out how and what Cubans were dancing at the time. He noted that this new dance had a split fourth beat, and to dance it one started on the second beat, not the first. He brought this dance idea to England and eventually created what is now known as ballroom cha-cha-cha. The validity of his analysis is well established for that time, and some forms of evidence exist today. First, there is in existence film ofOrquesta Jorrin playing to a cha-cha-cha dance contest in Cuba; second, the rhythm of the Benny More classic Santa Isabel de las Lajas written and recorded at about the same time is quite clearly syncopated on the fourth beat. Also, note that the slower bolero-son ("rumba") was always danced on the second beat.

*Dance steps and step patterns*

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Some dance steps done in 2/4 time rhythm can also be done in time. Review the step patterns of the following basic dance steps which are done in time and identify whichdance step can be done in 2/4 and time signature.
Touch Step - touch R (cts. 1,2); close R (ct. 3) or touch R (ct. 1); close R (cts. 2,3) 1 M Step Point - step R (cts. 1,2); point L (ct. 3) or step R (ct. 1); point L (cts. 2,3) 1 M Step Swing - step R (cts. 1,2); swing L (ct. 3) or step R (ct. 1); swing L (cts. 2,3) Step Hop - step R (cts. 1,2); hop R (ct. 3) 1 M Close Step - step R (cts. 1,2); close L to R (ct. 3); step R (ct. 1); close L to R (cts. 2,3) 1 M Slide Step - slide R (cts. 1,2); close L to R (ct. 3) or slide R (ct. 1); close L to R (cts. 2,3) 1 M Bleaking - place R heel (cts. 1,2); close R to L (ct. 3) or place R heel (ct. 1); close R to L (cts. 2,3) 1 M Waltz - step R (ct. 1); close L to R (ct. 2); step R again (ct. 3) 1 M Three-step turn step R (ct. 1) turn and step L (ct. 2); turn and step R (ct. 3); close L to R (ct. 1); pause (cts. 2,3) 2 M

Note: These steps can be done in place or while moving. It can also be done starting with the L foot. All Sway Balance The first step is usually done obliquely forward, cts. 1,2, the cross-step is done sideward (ct. 3). The succeeding step is done obliquely backward (ct. 2) and the last two counts are done infront, in place. Arms open from the first position to the fourth position R or L arms high. Kumintang R (L) hand when pointing with L (R) foot on cts. 2,3 of the second measure.
Sway balance with a point step R, cross step L/step R, point L// 2M 1, 2 3 1 2, 3 Sway balance with a brush step R, cross stepL/step R, brush L// 2M 1, 2 3 1 2, 3 Sway balance with a close step R, cross stepL/step R, close L// 2M 1, 2 3 1 2, 3 Sway balance with a hop step R, cross stepL/step R, raise L, hop// 2M 1, 2 3 1 2, 3 Sway balance with a raise step R, cross stepL/step R, raise L// 2M 1, 2 3 1 2, 3 Sway balance with a waltz step R, cross stepL/step R, close L, step R// 2M 1, 2 3 1 2 3