SOCIAL DANCING distinct sound in the music that people began

dancing to, calling the step "the Triple Mambo".

WALTZ - born in the suburbs of Vienna and in the
TEACHER PIERRE LAVELLE, Cuba in 1952. The name
alpine region of Australia; a smooth dance,
could have been derived from the Spanish CHA CHA
travelling around the line of dance; banned by the
meaning “Nursemaid” or “charchar” meaning to
church authorities because it is the dance to use
chew coca Leaves, or from “char” meaning “tea”, or
closed dance position.
GUARACHA (fast and cheerful Cuban dance).
POLKA - is defined as vivacious couple dance of
RHYTHM: 4/4, 4 beats per measures, all steps break
Bohemian origin in duple time; was a basic pattern
on count 2. Slow-slow-quick-quick-slow or step step
of hop-step-close-step; lively Bohemian dance tune
cha-cha-cha or two three four and one.
in 2/4 time.
POSTURE: head erect, straight back, bent knees,
FOXTROT - originated by Vaudeville actor Harry Fox.
loose hips, Cuban Rhythm.
The combination of quick and slow steps permits
more flexibility and gives much greater dancing FLIRTY STYLE POSITION: Closed Latin position, two
pleasure. hands held, one hand and no hands in contact are all
used from the cha cha. Eye contact with your
TANGO (the dance with the stop "Baille Con
partner should be maintained throughout all
Carte"). - Originated in Spain or Morocco, the Tango
variations.
was introduced to the New World by the Spanish
settlers, eventually coming back to Spain with Black 5 BASIC DANCE STEPS OF CHA CHA
and Creole influences. Started with the gauchos of 1. BASIC CHACHA
Argentina.
2. SIDE CHACHA/SIDE STEP
RUMBA - Afro-Cuban origin, deriving from the days
of Negros Slavery; exotic dance with violent and 3. NEW YORK STEP
sinuous movements of hip, shoulder and torso. 4. CHA CHA CHA STEP
THREE MAIN CHARACTERISTICS: 5. WHOLE TURN
1. The action is in the feet and the knees; ELEMENTS OF DANCE ETIQUETTE:
2. There is a delay shift of weight; and 1. Never blame your partner for anything that may
3. The upper body is upright and quiet, with a focus happen on the dance floor. Not if you want him/her
on one's partner. to dance with you again.
MAMBO - originated in Haiti. The word "Mambo" is 2. A request for a dance must be accepted under
the name of a Voodoo priestess in the religion almost all circumstances. If you decline a dance, you
brought by the Negroes from Africa; three forms of yourself cannot dance until the end of the music.
mambo: single, double, and triple. 3. No unsolicited teaching on the dance floor! There
PASO DOBLE - "man's" dance, portraying the story is a good chance this will make your partner feel
of the matador with (the female being) his cape, small and humiliated. Not exactly a great way of
where the matador is to weild his cape according to encouraging him/her, or others, to dance with you.
the "anger and intensity" of the roaring boar. 4. Do not monopolize a partner on the dance floor.
QUICKSTEP - or "joy" dance of ballroom dancing, is Dancers are polite and rarely say no to a dance, but
noted as a quick Foxtrot; characterized by a slow- this is no carte blanche to impose on their kindness.
slow-quick- quick-slow rhythm performed relatively Dance with everyone, and let everyone dance.
fast 48-52 bars/min. music that brings out all of the 5. On the floor, be considerate of other couples.
"frills" it has. Exercise good floor craft: do not cut other couples
CHA CHA (Cha-Cha-Cha) - an off shoot of the off: no aerials or choreographed steps on the dance
Mambo. In the slow Mambo tempo, there was a floor.
CHA CHA CHA BASIC STEPS: face away from her partner. The cha cha cha
steps are done as a forward Progressive
1. BASIC – Man steps forward L, rocks back on
Basic. The pivots continue on every step until
R, Cha Cha Cha (3 tiny steps-weight changes
the man does a basic, at which time the lady
L, R, L) in place. Man rocks back on R, rocks
follows his lead by joining him in the basic
forward L, Cha Cha Cha (3 tiny steps-weight
Think L foot forward, turn R. pass pass pass;
changes R, L, R) in place. Lady reverses steps.
R foot forward. turn L pass, pass, pass. The
2. SIDE BASIC – Same as Basic except, Cha Cha
man and lady use the same foot work, but
Cha steps travel to side. (Man to L side on
the lady starts one measure after the man.
first cha cha cha, to R side on second cha cha
8. FULL CHASE - Same as Chase/Half Chase, but
cha. Lady does reverse.)
on cha cha cha steps turn 180 degrees again,
3. PASSING BASIC/PROGRESSIVE BASIC –
to face partner. Often the Full and Half
Same as Basic except cha cha steps are done
chases are alternated.
moving forward and backward.
9. DOUBLE BREAK - Start in 2 hand hold, open
4. CROSS-OVER BREAK – Man steps L to side
to man's R side with a cross over holding
across his R foot. Rock back in place with R
inside hands. Lock outside foot behind
foot, cha cha cha (3 tiny steps-LRL). R foot
leading foot, cross and rock back, cha cha
crosses over L foot to L side, rock back in
cha facing partner. Think: Cross Lock, Cross
place with L, cha cha cha. Lady reverses feet.
Rock, Cha Cha Cha. Generally, 4 Double
The man's lead must be strong on opening
Beaks are done to finish with music.
beat, take ladies R hand in man's L.
10. SWEETHEART - From a two-hand hold, the
preferably with an aligator hold, pulling
man swings lady's R arm diagonally overhead
across to man's R side. This sequence is done
and turns lady into a wrapped, side by side
for an even number of cha cha chas.
position. Then he turns lady back out to basic
5. TURN AROUND - After the 3rd (or odd
two hand hold. The man does the basic step
number) of Cross-Over Break steps, man and
throughout. Lady does 180 degrees turn to L,
lady turn simultaneously away from each
cha cha steps next to man in side-by-side
other-(outside) slow slow end facing partner
hold, then is turned 190 degrees to R,
with cha cha cha steps. Man’s lead for this is
stepping fwd on R for basic position.
to swing lady's arm away as he lets go.
11. STANDARD PEEK A BOO - Man does basic
6. CROSS OVER BREAK WITH UNDER ARM
footwork, when he goes back on R ft, he lifts
TURN - After 3rd cross over, man holds and
his L hand toward his R shoulder (lady's R
raises lady's R hand with his L hand, Lady
arm up to her L side), put man's R hand on
does L slow turning out, R pivot slow to face
her R upper back. Lady's footwork: Rock back
partner and cha cha cha. Man does 4th
on R ft, step L fwd, cha cha cha turning ½ to
crossover break. Can also do a lady's Under
L. Rock back on L ft, fwd on R, cha cha cha
Arm Turn inside direction-man leads into this
turning ½ to R.
by crossing held hand to lady's L side (man's
12. FULL PEEK A BOO - This is a R to R hand or
R) and lifting arm up for lady to go under.
two hand hold variation. Same foot work for
Another variation is that both can turn
both, but man changes hands so that he
outside under raised joined arms.
holds lady' SR hand in his R, crosses his L
7. CHASE/HALF CHASE - Uses Shine Position.
hand over his R, to hold lady's L. From this
Man initiates the chase any time his L foot is
position a window is formed, and partners
free, usually after 2 Basics. Man steps
peek through the double arm windows at
forward on L pivoting to face 180 degrees
each other. Get out with a lady's UAT or a
(faces away from partner), with weight
simple hand change since you are in basic.
transferred to R foot. This is the cue for the
More advanced, use a man's single or double
lady that the Chase has begun. On her next L
head loop to get out.
forward step, she will pivot 180 degrees to
 13. ALTERNATING HANDS - Variation of Full 2. UNDERARM TURN LEFT/INSIDE TURN –
Peek a Boo, uses same foot work. Man holds Same as Underarm turn Right except lady is
lady's wrist. Pulling R hand across, then L. guided to her L to turn. This variation is often
(handshake, reverse handshake), could also preceded by an Underarm Turn Right.
hold forearm. 3. ALTERNATE UNDERARM TURNS – Lady does
14. CROSS BODY LEAD - Lady rocks bk on R ft, Underarm Turn Left (inside) on 1st measure,
cha cha cha in place, rock fwd on L, ½ turn to with man's hand wrapping around lady's
L on step R, cha cha cha to finish turn and waist. Then the man does an inside L
face ptr. Man starts basic with fwd L, bk on Underarm Turn with lady's arm wrapping
R, and leads lady across his body, doing cha man's waist on 2nd measure.
cha cha as a side close side. Turn ½ to L to 4. BACK PASS – Man drops L hand, changes
face ptr for rock step and last cha cha cha. hands to hold only lady's K in his R, which
15. HALF MOON - Start with cross body lead travels around the back of the man’s waist.
using R handshake hold, after basic, both do Usual triple foot work, man turns and
a side by side with L arms out to side. Go into finishes with lady's inside (L) underarm turn,
a cross over break (5th position break) and man catches her hand to resume basic. An
add cross over spins. The lady spins on the alternate variation is the man uses a 1 hand
cha cha cha-think: cross step turn turn, cross hold (his L, lady's R) placing her R hand on his
step turn turn. The man puts his hand up so stomach, as he turns L, end with inside UAT.
she can use it as pressure against the spins 5. PRETZEL/ARM SLIDE – Start with 1 triple
both L and R. The lady does rock fwd, bk, basic holding hands, partners lift hands
spin-rept. The man rocks bk or can also spin. behind necks on the diagonal for triple steps,
release hands sliding into one hand hold for
rock back. Man moves in to resume basic
SWING DANCE step.
- evolved out of Jazz styles from Pre WWII, known as 6. PUSH STEP – Man steps diagonally across R
JITTERBUG and BOOGIE-WOOGIE. foot with his L, steps across L foot with R
foot, and usual rock back (L, R.) Can be done
- a wild dance for the young before being tamed into in single or triple rhythm. Lady crosses L foot
JIVE or AMERICAN SWING in the later 1940’s with R, R foot with L, rock back. The lead is
TEMPO: Slow, Slow, Quick, Quick, Slow, Quick, with the hands held upright; pressure
Quick, Slow. applied to the diagonal.
7. SWEETHEART – Use lady's inside turn to
RHYTHM: 4/4 Triple: 3 quick steps, 3 steps rock back
assume cuddle position. Partners stand side
DOUBLE: step touch, step touch, rock back by side with 2 hands held, lady's arms are
LESS COMMON SINGLE: step, step rock back crossed in front. Using triple steps, alternate
sides. Use Lady's outside turn to get out of
STYLE: requires a relaxes, easy, bent knees posture. variation.
8. BUTTERFLY – Uses basic hammer lock
position, or back-to-back slide. Man lifts arm
SWING DANCE BASIC STEPS:
over his head, ducks under own arm, rock
1. UNDERARM TURN RIGHT/OUTSIDE TURN – back. Get into and out of Butterfly with a
Man raises L hand and guides lady under, lady's outside turn.
continuing triple basic while lady turns. R 9. PEEK A BOO – From a lady's outside
under the arms with 2 forward sets of triples, underarm turn, man changes hands to join
to face partner on rock back. This can also be his R to lady's R hand. Join L hands above R
done with partners almost changing places hands, using R hands to pull the lady to
while lady turns. man's R side. Alternate sides peeking under
"window". Get out of variation when the
 man's R hand is on top, by swinging into a body individually. For hands and other
lady's underarm outside turn, with man extremities this is pretty easy, but to master
changing both hands to hold lady's R hand jazz you need to be able to isolate the chest
with his L, L with his R. and hips as well, and this is almost always a
10. VARSOUVIENNE/SHADOW – Uses outside part of any jazz dance warm-up.
lady's turn with man changing hands as in
Peek a Boo, turning lady into Shadow To isolate your hips as an exercise, follow
position. Alternate lady to L and R side. The these steps:
lady must do a fast turn, in some cases a Loosen your knees.
double turn almost in place to move side and Extend your arms out to the sides.
side. Use lady's underarm outside turn to get Holding your chest and your legs as still as
out of this pattern. possible, swing your hips from side to side.
11. DISH RAG – Keeping hands joined 4. CHASSE – your chassé step can take on a
throughout, both partners turn under joined variety of different looks based on the speed
man's L, lady's R arms. Men turn 360 degrees with which you execute it. Accent the step
to L, ladies to R, until facing each other. Turn with your arms to create artistry for this
is completed in one triple step. movement.
Step one foot forward (or to the side).
Bring up the second foot behind the first
JAZZ foot.
- is as experimental, free form and fluid as jazz, the As you bring up the second foot to join the
music. It's fusion, It's inventive, it's exuberant. And, first one, immediately step off the foot to
like the music, jazz dance is a uniquely American art create a skipping movement across the floor.
form with influences from everywhere. The smooth 5. JAZZ LAYOUT – another classic move, and is
and syncopated moves of jazz are always all about often used in posters and images to convey
the performance. some of the excitement of jazz dance. This
dramatic move is performed by:
- came out of Africa. A straight kick high up in the air.
Simultaneously doing an extreme back bend,
head arched back and arms extended.
JAZZ DANCE BASIC STEPS:
This iconic jazz step requires excellent
1. JAZZ SQUARE – often done with some
balance and flexibility when done in this
attitude in the upper body, accenting the
extreme manner. Simpler versions involve
motion. Jazz squares can be executed in
doing a back bend without any sort of kick.
groupings of two or more, repeated on the
same side. 6. STAG LEAP – very high jump, simulating
Step forward on the right or left foot. splits in the air, only one leg is bent so the
Cross the other foot over the first foot. foot is tucked under the knee.
Step back with the first foot. 7. PIVOT STEP – one-foot steps in front of the
Bring the feet side by side. other, and then the body pivots around
2. JAZZ WALKS – basically regular walking back into the original position.
combined with a tiptoeing motion that 8. FAN KICK – the body stays in place while
makes the walk like a cat strut. Jazz walks are one leg starts inward and kicks all the way
beautiful and sexy ways to transition from around to its original position.
one part of your routine to another, and
9. DROP – used in more modern jazz routines,
they're also great as choreography of their
a drop is when a dancer executes a
own.
controlled fall from an isolated position.
3. ISOLATION – one of the key skills for any jazz
dancer is to be able to move parts of the