The music has 4 beats to the bar and about 30 bars per minute. Count 2, 3, 4 and 1 to a bar for most step groups or figures. Some people use 1, 2, 3 and 4 in sequence dances. This is wrong. However, when a whole room full of people are dancing incorrectly in sequence, it is easier to go with the flow. Either way, the rhythm for figures can be counted in half-bars of SS or QQS.
As with other latin dances, the close hold is looser than for ballroom. Very few steps are inline. The couple often separate into an open position for side-by-side or shadow figures. The hold may be a high double, left to right or right to left.
The knees should be straight most of the time. Slide across the floor on the ball of the foot and side step by rolling from the inner edge of the foot to the outer. The body should remain level - no fall and rise as when waltzing. The motion of the hips is the key to this.
The man steps forwards on the left foot or backwards on the right foot (the lady doing the opposite). Then the weight is replaced onto the other foot (right or left). These 2 steps together may be referred to as a rock step. Do not just push the foot out for the rock step and forget to move the rest of your body over it - you will look like Frank Spencer. The remaining 3 steps are a chassé to the side (left or right). For the next bar the man must begin with the other foot (brushing in towards the supporting foot before stepping out). Note that the forwards right and backwards left versions of this figure do not exist. So the options are:
Left Basic (FP, CH/DH) | Right Basic (FP, CH/DH) | ||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LF | RB | LS | RC | LS | RB | LF | RS | LC | RS | |||||||||||
Lady | RB | LF | RS | LC | RS | LF | RB | LS | RC | LS |
The couple should rotate gently anticlockwise during the figure when not dancing a sequence. This is accomplished largely during the left forwards steps by twisting the body at the end of the step.
A forwards or backwards lock may replace the side chassé after the rock step.
Left/Backwards Lock Basic (FP, CH/DH) | Right/Forwards Lock Basic (FP, CH/DH) | ||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LF | RB | LB | RkF | LB | RB | LF | RF | LkB | RF | |||||||||||
Lady | RB | LF | RF | LkB | RF | LF | RB | LB | RkF | LB |
A variation of the often used in sequences is the swivel lock basic. The rock step is replaced by a swivel step to change direction. When only one partner swivels the couple enter or leave shadow position.
Left Swivel Lock Basic (SFP/SBP, NH) | |||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | LFS+2 | RSF+2 | LF | RkB | LF | ||||||
Lady | RFS-2 | LSF-2 | RF | LkB | RF | ||||||
Right Swivel Lock Basic (SFP/SBP, NH) | |||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | RFS-2 | LSF-2 | RF | LkB | RF | ||||||
Lady | LFS+2 | RSF+2 | LF | RkB | LF |
The man steps forwards across his body on the left or right foot outside his partner. The lady steps backwards across her body on the opposite foot. In a variation of this figure, the lady lifts and points the other foot. Then the weight is replaced onto the other foot (right or left). Lastly the chassé to the side (left or right). A high double handhold is normally used.
Left Outside Basic (OLP-FP, HH/LLH) | |||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | LXF+1 | RBX-1 | LS | RC | LS | ||||||
Lady | RXB+1 | LFX-1 | RS | LC | RS | ||||||
Right Outside Basic (ORP-FP, HH/RRH) | |||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | RXF-1 | LBX+1 | RS | LC | RS | ||||||
Lady | LXB-1 | RFX+1 | LS | RC | LS |
Both man and lady step backwards across the body to a side-by-side position with just a single handhold. Then the weight is replaced onto the other foot before turning back. Lastly the chassé to the side, taking a double handhold if the next figure uses this or the other single handhold.
Hand-to-Hand (SRP-FP, RLH-DH) | |||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | LXB-2 | RFX+2 | LS | RC | LS | ||||||
Lady | RXB+2 | LFX-2 | RS | LC | RS | ||||||
Hand-to-Hand (SLP-FP, LRH-DH) | |||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | RXB+2 | LFX-2 | RS | LC | RS | ||||||
Lady | LXB-2 | RFX+2 | LS | RC | LS |
Both man and lady step forwards across the body to a side-by-side position with just a single handhold. Then the weight is replaced onto the other foot before turning back. Lastly the chassé to the side, taking a double handhold if the next figure uses this or the other single handhold.
New York (SLP-FP, LRH-DH) | |||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | LXF+2 | RBX-2 | LS | RC | LS | ||||||
Lady | RXF-2 | LBX+2 | RS | LC | RS | ||||||
New York (SRP-FP, RLH-DH) | |||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | RXF-2 | LBX+2 | RS | LC | RS | ||||||
Lady | LXF+2 | RBX-2 | LS | RC | LS |
These are like fast Rumba New Yorks (see also Mambo). The step-replace to each side takes half the normal time and the chassé is reduced to a side step. The doubling up results in a change of foot compared with most figures. The Cuban Breaks have to be danced as a pair but the order doesn't matter. They are usually followed by a New York and may also be preceded by one.
Cuban Break (SLP-FP, LRH-DH) | Cuban Break (SRP-FP, RLH-DH) | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (Q) | and (Q) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||
Man | LXF+2 | RBX-2 | LS | RXF-2 | LBX+2 | RS | |||||||
Lady | RXF-2 | LBX+2 | RS | LXF+2 | RBX-2 | LS |
This 4-step figure has no chassé and results in a change of foot. It could be followed by a New York, Solo Turn or Shadow Position Basic to cross over.
LF Cross Zig-Zag (FP, DH) | |||||||||
---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (S) | 1 (S) | |||||
Man | LxF | RS | LxB | RS | |||||
Lady | RxF | LS | RxB | LS |
RF Cross Zig-Zag (FP, DH) | |||||||||
---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (S) | 1 (S) | |||||
Man | RxF | LS | RxB | LS | |||||
Lady | LxF | RS | LxB | RS |
Both man and lady step forwards across the body to a side-by-side position but push away and release the single handhold. They continue turning round using both feet to swivel before replacing the weight onto the other foot. Lastly the chassé to the side. The next figure determines the handhold the man takes on the chassé. A more advanced form of the figure uses a brush and replace with the second foot instead of just a swivel.
Spot Turn (SLP-BP-FP, LRH-NH) | |||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | LXFS+4 | RSFX+4 | LS | RC | LS | ||||||
Lady | RXFS-4 | LSFX-4 | RS | LC | RS | ||||||
Spot Turn (SRP-BP-FP, RLH-NH) | |||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | RXFS-4 | LSFX-4 | RS | LC | RS | ||||||
Lady | LXFS+4 | RSFX+4 | LS | RC | LS |
Usually just a single spot turn is danced - the SRP one after 3 hand-to-hands.
The man raises the linked hands and directs the lady to turn under his arm. She uses the same steps as a spot turn while he dances a basic. This is usually a single turn to the right, after 3 basics or new yorks. However it is possible to make a reverse turn (see also the hockey stick ending from the fan).
The man may take the opportunity to change handhold (LRH-RRH) during an Alemana while the lady is turning, if the next figure requires it.
Alemana Turn (SFP-SLP-FP, LRH) | |||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | RB | LF | RS | LC | RS | ||||||
Lady | LXFS+4 | RSFX+4 | LS | RC | LS | ||||||
Reverse Alemana (SFP-SRP-FP, LRH) | |||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||
Man | LF | RB | LS | RC | LS | ||||||
Lady | RXFS-4 | LSFX-4 | RS | LC | RS |
These are usually part of mini-sequences. Note that replacing a rock step with a lock step results in a change of foot. They can go forwards and back (with optional alemana turn on the change of direction instead of a rock step) ...
Lock Basic ... (FP, RRH) | Locks Backwards (FP, LLH-RRH) | |||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (Q) | and (Q) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LF | RB | LB | RkF | LB | RB | LkF | RB | LB | RkF | LB | |||||||||||
Lady | RB | LF | RF | LkB | RF | LF | RkB | LF | RF | LkB | RF |
Lock Basic or Alemana ... (FP, RRH) | Locks Forwards (FP, LLH-RRH) | |||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (Q) | and (Q) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | RB | LF | RF | LkB | RF | LF | RkB | LF | RF | LkB | RF | |||||||||||
Lady | LF | RB | LB | RkF | LB | RB | LkF | RB | LB | RkF | LB |
... or to the side (to be followed by a spot turn) ...
Whisk/Hand-to-Hand + 3 Promenade Locks (SRP, RLH) | ||||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (Q) | and (Q) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LXB-2 | RF | LF | RkB | LF | RF | LkB | RF | LF | RkB | LF | |||||||||||
Lady | RXB+2 | LF | RF | LkB | RF | LF | RkB | LF | RF | LkB | RF |
This is a very tight clockwise turn. It usually begins with a link from an open position. The amount of turn varies but is more than for the Rumba because of the extra steps in the chassé. So it is more common to link and end after one bar of turning in the Cha-Cha than to use 3 bars for the turn.
Basic Link (FP) | ||||||||||
---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||
Man | LF | RB | LS | RC | LS+1 | |||||
Lady | RB | LF | RF | LkB | RF | |||||
Natural Top (FP, CH) | ||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||
Man | RCb+1 | LFS+1 | RCb+1 | LFS+1 | RCb+1 | |||||
Lady | LFS+1 | RCf+1 | LFS+1 | RCf+1 | LFS+1 | |||||
Natural Top (FP, CH) | ||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||
Man | LFS+1 | RCb+1 | LFS+1 | RCb+1 | LFS+1 | |||||
Lady | RCf+1 | LFS+1 | RCf+1 | LFS+1 | RCf+1 | |||||
Natural Top End (FP, CH) | ||||||||||
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||
Man | RCb+1 | LFS+1 | RCb+1 | LFS+1 | RC | |||||
Lady | LFS+1 | RCf+1 | LFS+1 | RCf+1 | LFS+1 |
The natural top ends in a very close hold. It can be followed by a basic or by an opening out to the right.
The opening out usually follows the natural top but may also follow an alemana (overturned). The man dances a basic while directing the lady outwards to the side - like an overturned whisk to promenade with close hold retained. The chassé back in front of the man may be followed by a hip twist or alemana turn or is overturned for a spiral ending. This is a reverse turn for the lady. The overturn drags her left foot into a lock position on the toe only. The man releases the lady's waist and turns her out with the left to right handhold.
Opening Out with ... (FP-SRP-FP-, CH) | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||
Man | LF | RB | LS | RC | LS | |||||||
Lady | RXB+4 | LFX-2 | RFS-2 | LC | RSBX-4 |
... Spiral Ending (-SFP-FP, LRH) | ||||||||||
---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||
Man | RB | LF | RF | LkB | RF | |||||
Lady | LF | RFSB-4 | LB | RkF | LB |
The fan position is when the lady is on the man's left side but at a right angle to him - like a very open contra-promenade.
From a close hold basic, the man leads the lady to fan position with his right hand on her waist. He pulls her a little closer on his back step and pushes her to the side on his forward replace before releasing hold. He pushes her further away with the left to right handhold on his side step - the actual fanning out.
Left Basic (FP, CH) | Basic to Fan (FP-CP, CH-LRH) | |||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||||||
Man | LF | RB | LS | RC | LS | RB | LF | RS | LC | RS | ||||||||||
Lady | RB | LF | RS | LC | RS | LF | RBX-1 | LXB-1 | RkF | LB |
The open hip twist uses a travelling basic to link from an open position before the hip twist to fan. The man keeps the left to right handhold low to lead the twisting motion. The lady takes very small steps in the hip twist itself before fanning out on the back step.
Basic Link (FP, LRH) | Hip Twist to Fan (FP-CP, LRH) | |||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||||||
Man | LF | RB | LS | RC | LS | RB | LF | RS | LC | RS | ||||||||||
Lady | RB | LF | RF | LkB | RF | LXF+2 | RFSB-4 | LB | RkF | LB |
The closed hip twist uses an opening out from a close position before the hip twist to fan.
Opening Out (FP-SRP-FP, CH) | Hip Twist to Fan (FP-CP, LRH) | |||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||||||
Man | LF | RB | LS | RC | LS | RB | LF | RS | LC | RS | ||||||||||
Lady | RXB+4 | LFX-2 | RFS-2 | LC | RS | LXF+2 | RFSB-4 | LB | RkF | LB |
To lead the lady into an Alemana Turn, the man raises the linked hands during the fan exit.
Fan Exit to ... (CP-FP, LRH) | ... Alemana Turn (SFP-SLP-FP, LRH) | ||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LF | RB | LS | RC | LS | RB | LF | RS | LC | RS | |||||||||||
Lady | RC | LF | RF | LkB | RFX+2 | LXFS+4 | RSFX+4 | LS | RC | LS |
For a Hockey Stick, the man leads the lady forwards on the fan exit and delays raising the linked hands and leading the left turn.
Fan Exit to ... (CP, LRH) | ... Hockey Stick (SFP-SRP-FP, LRH) | ||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LF | RB | LS | RC | LS | RB | LF | RSF+1 | LkB | RF | |||||||||||
Lady | RC | LF | RF | LkB | RF | LF | RFSB-4 | LXB-1 | RkF | LB |
For the Turkish Towel, the man changes handhold (LRH-RRH) during the fan exit. He raises the linked hands to lead the lady into a left turn, but turns himself so that she chassés behind him. Normally he keeps the hold high and offers the lady his other hand over the shoulder to take a double hold. As the lady crosses from one side to the other he passes the linked hands over his head. Alternatively he may lower the linked hands to lead her behind him and may or may not offer her his other hand (also at a low level).
Fan Exit to ... (CP, LRH-RRH) | ... Turkish Towel (SFP-SRP-SBP, RRH-SH) | ||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | |||||||||||
Man | LF | RB | LS | RC | LS | RB | LFX-2 | RS | LC | RS | |||||||||||
Lady | RC | LF | RF | LkB | RF | LF | RFSB-4 | LS | RC | LS |
Turkish Towel (SLP-SBP, SH) | Turkish Towel (SRP-SBP, SH) | |||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||||||
Man | LB | RF | LS | RC | LS | RB | LF | RS | LC | RS | ||||||||||
Lady | RF | LB | RS | LC | RS | LF | RB | LS | RC | LS |
For a Throwaway Exit, dance one more Turkish Towel releasing the left handhold. Then lower the right handhold and release while pushing the lady away.
Turkish Towel (SLP-SBP, SH-RRH) | Throwaway Exit (SRP-FP, RRH-NH) | |||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Beat | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | 2 (S) | 3 (S) | 4 (Q) | and (Q) | 1 (S) | ||||||||||
Man | LB | RF | LS | RC | LS | RB | LF | RDF+1 | LkB | RF | ||||||||||
Lady | RF | LB | RS | LC | RS | LF | RFSB-3 | LB | RkF | LB |