Get Over It!Individual Dance CourseCha ChaTopTable of ContentsGeneral TopicsPosturePoiseArmsHeadRelative positions of the Man and LadyClosed Position - Closed Position in the Latin DancesMovement in the Latin Dances Cha Cha Basic Patternpen Position!lusive Cu"an Motion - #ometimes called Latin Motion$or%ard and Bac&%ard 'al&s - (Cu"an 'al&s) - 'al&s as man and 'al&s as LadyCorrect and *ncorrect #teppin+Dia+rams of Complete Basic PatternThe first Dia+ram is The Turnin+ BasicThe #econd Dia+ram is the Basic %ithout the Turnin+$or%ard and Bac&%ard Brea&s$or%ard and Bac&%ard Roc&s$or%ard Brea&s as Man or as Lady - in pen PositionBac&%ard Brea&s as Man or as Lady - in pen Position#ide%ard Brea&sutside Brea&s - , utside Brea&s Apart$or%ard and Bac&%ard Roc&s$or%ard Brea&s- BasicBac&%ard Brea&s- BasicBac&%ard Brea&s Apart- Basic.nder Arm Turnpen and Promenade Brea&s -(ends %ith .nder Arm Turn)Cross Body LeadSpot TurnsBackward Spot TurnBackward Spot Turns as Man and Lady in Cha ChaForward Spot TurnRight and Left Under Arm TurnsAdvanced Movement and Advanced #tylin+ Techni/uesClave0Timin+ - Advanced Techni/ues General TopicsReturn to Table of ContentsThe Dances in this section are also referred to as Spot Dances. Another term is Stationary or Static. They have, as part of their, "Character," the fact that they are non-progressive. All of the dances above are danced in one spot on the foor. As soon as you attempt to travel, the Character and Technique sufer.Sin! is not a ""atin Dance per se." #oever, a number of ""atin techniques" are danced, the same in the Sin! as in the other "atin dances. $ ill start this section by coverin! the "Character" of the "atin Dances. $ncluded in the Character is . . . %osture, %oise, &alance, Arm %osition, #ead %osition, 'elative %artner positions, etcetera.The order that $ present the material for both the be!inner and advanced dancer ali(e is to establish several basic precepts. These precepts are based on the theory that hether you are a ne person startin! dancin! for the )rst time or you have been dancin! for many years, there are some items that have to be cleared up in the )rst severallessons. $ )nd it absolutely imperative that the body of both of the partners must be "*uiet", "Self Supported", "+luid", and ithout any ",$diot- synchrocies." These idiosyncrasies often stand in the ay of alloin! the proper position or in the case of movin!, the movement necessary to dance comfortably. $f $ can tone don the upper body and (eep it in a basically !ood position throu!hout the patterns in the be!innin!, addin! bac( into the equation the stylin!-s that allo you to en.oy the dancin! but not inhibit the correct overall performance, is easily accomplished. $t ill sometimes appear that $ may leave out some thin!s, or possibly not even cover them at all. This is not the case. $ (no that some thin!s ill ta(e care of themselves if left to their on devices. $f, hoever, there are still some areas in the techniques that seem to be missin! $ recommend that you !o bac( to the be!innin! and quic(ly !o over the techniques already covered. This, $ am con)dent, ill eliminate most problem areas in most dancers. PostureReturn to Table of ContentsStandin! up strai!ht, as in the Smooth and /ovin! dances is a !ood place to start. 0ou should have a vertical line from the feet to the head. The muscles of the entire body should be )rmly toned. There is a tendency in the techniques of the "%osture," in the "atin dances, to have a sli!htly more rounded feelin! in the upper body. This should be much li(e holdin! a lar!e barrel in front of you and havin! your arms feel as if they ere encirclin! the barrel. This sli!ht diference is a ma.or point in the manner in hich e move in the ""atin" dances. Some !o to an uncalled e1treme and hold the left forearm of the man and the ri!ht forearm of the lady in a vertical position ith the elbos to the rists touchin!. $n my ay of thin(in!, this is a !reat e1a!!eration and causes the loo( to be too much of a caricature of the ""atin +eelin!." $f you ere to !o to a club here a lar!e number of Cuban, %uerto 'icans, etcetera., people are dancin!, the character ould be a lot more subtle. The upper body of the man and lady are still held vertical ith the spine in a line, hoever, the upper body ill have less stretchin! up than ould if you ere dancin! the Smooth Dances. The body may be considered as compressed. $f you !o to the e1treme of bendin! over or cavin! in, in the middle of the body, you ill do more harm than !ood. The posture of the lady is basically the same asthe man. The feelin! of compression is the same. The actual center of balance is li(e the man more than it is unli(e. PoiseReturn to Table of ContentsThe poise of the /an is more evenly distributed over the supportin! foot. 2hen you place the ei!ht on one foot or the other, the distributionof the ei!ht is beteen the #eel and the &all of that foot. The lady-s ei!ht is also evenly distributed beteen the #eel and &all of each foot. 2here the lady-s poise is sli!htly to the left and Sli!htly &ac(ard in the Smooth and /ovin! dances, the "atin dances are substantially vertical strai!hter up and don ith the body more vertical. The positions of the feet are the same as in the /ovin! or Smooth dances. 2here you are facin! in relation to the room is less critical in the "atin dances. $ ill often refer to positions as related to the room becausee must have some ay to (no ho much is turned and hen. 0our position in relation to your partner is still very important. ArmsReturn to Table of ContentsThe "eft Arm of the /an is in the same position as in the smooth and movin! dances. A sli!ht variance is noted by the more inard position of the palm of the left hand. 0ou ill feel that the hand is turned in sli!htly. The /an-s 'i!ht Arm is sli!htly more around the bac( of the "ady, much li(e the arm position in the Tan!o. The "ady-s "eft Arm is held in the same position as the Smooth and /ovin! Dances. The "ady-s 'i!ht hand ill be more rela1ed and the man-s hold on the lady-s hand ill be sli!htly less )rm.The positions of the bodies are several inches apart. There is not the solid contact that is found in the Smooth and /ovin! Dances. As a result of the sli!ht separation of the /an and "ady, you ill understand hy the/an and "ady ill have somehat a feelin! of roundness in the arm and upper body positions as the arms move more +orard to accommodate for the additional distance from the partner. This is somehat tempered by the fact that the lady is more directly in front of the man, so he ill notappear to be reachin! +orard for the lady. HeadReturn to Table of ContentsThe head is held hi!h and strai!ht up in the middle of the shoulders. The lady is more vertical in the "atin dances. She ill also have her head held strai!ht up from the middle of the shoulders. The intimate nature of the "atin dances ill have both the man and lady loo(in! into the eyes more often than not. A romantic feelin! is pro.ected by the partnership. &ecause of the closeness and pro.ection of the emotional feelin!s of the partnership the head movements ill be moved in a diferent ay than in the /ovin! and Smooth dances. Sometimes there ill be a coy or shy appearance. Sometimes there ill be a loo( of passion and intensity. This afects the head and its movements. A!ain . . . "$f you see it, it is ron!333" ould be a !ood !uide in ho the head is positioned and moved in relation to the body. &ecause of the emotional closeness, the 'elative positions of the bodies of the /an and "ady are very important. As e continue, you ill understand some of the thin!s $ have .ust discussed, and the reasonin! for this ill be self4evident.elative positions of the !an and "ad#Return to Table of Contents$n the "atin Dances, the lady is almost directly in front of the man. There is a sli!htly leftard position in relation to your partner, but this is less than the Smooth and /ovin! Dances. There are times hen you ill be in contact ith your partner in a similar manner as discussed in the Smooth and /ovin! Dances. &ecause of the nature of the dances, this ill not be often. 0ou ill be in contact and then apart, in contact, and apart throu!hout the dances. A notable use of the contact is in the Samba hen you do the "Samba 'olls."As in the Smooth and /ovin! Dances, you must also ma(e very subtle chan!es hen movin! from 5pen %osition to Closed %osition or %romenade %osition to Closed, etcetera. "%anca(in!" is still a problem hen movin! from one position to the ne1t. There are times, hoever, hen . . . +or the sa(e of stylin! a radical departure from the norm may be used. The same rule to remember "$f you see it, it is ron!," still applies.There are also many times that you ill be completely at arms len!thor completely separated ith no contact at all. 2hile doin! these step patterns on your on, you ill still have to be in sync ith your partner. &ecause of the "5pen 2or(," as it is called, there ill be many times hen you ill be doin! patterns completely diferently from your partner. The movement from one position to another still must be connected to the dance by the Character, 'hythm or Timin!. All the rules do not !et thron out the indo .ust because you are not physically connected ith your partner. There still is a stron! emotion connection and each partner should be dancin! with the other. Closed PositionClosed Position in the "atin danceseturn to Table of ContentsStart ith the feet 6 to 7 inches apart, ith the balance beteen the balls and heels of the feet. 2hen you start you ill ma(e a concerted efort to balance yourself on one foot or the other. 0ou must be on one foot or the other. %ositionin! your ei!ht beteen both feet ill drive your partner cra8y as they attempt to try to )!ure hich foot is no !oin! to move. 0ou ill positively move your ei!ht to one foot or the other before the )rst step is ta(en. The man and lady ill be .ust a coupleof inches apart. A comfortable ad.ustment to the body types is easy if you both stand )rmly but not sti9y and (eep the body of both partners erect. &ecause one partner is portly is not relevant. :ust stand comfortably. ;eep the body muscles )rm not ri!id.The bodies ill be sli!htly ofset. The /an ill be .ust sli!htly to the left in relation to the lady. The shoulders are still parallel. There is a tendency for many couples to more or less "ride side saddle." This can bedescribed as the man turnin! to the left and the lady turnin! to the ri!ht, so the ri!ht side of the man is closer to the left side of the lady. This somehat open position ill not enable the man to ta(e a +orard step ithout movin! aay from the lady because as she steps &ac(ard she ill be movin! in a diferent direction. 'emember (eep the shoulders and feet parallel.The upper body ill be several inches apart. 6 inch, 7 inches, or < inches. This ill depend on the comfort of both partners.The arm positions are almost entirely in the same as in the Smooth and /ovin! Dances. The sli!ht diference is, in the feelin!, of a roundnessin the position of the arms much the same as if you ere holdin! a barrel in your arms. =otably the /an-s left hand ill be turned somehat in, ith the palm facin! toard the lady. The /an-s 'i!ht #and ill be more around the lady. >?ery Sli!htly.@ &ecause of the separation of the bodies, the arms ill have a tendency to be more +orard contributin! to the feelin! of roundness. !ovement in the "atin DancesReturn to Table of ContentsThe man should ma(e a concerted efort to place his ei!ht on one foot or the other before you ta(e your )rst step. &ein! completely on one foot ith the other foot ready to move ill !ive a con)dence to your partner. She ill be more li(ely to move ith the proper movement if this is done. :o(in!ly e, in classes, ill say, "Stand on your ri!ht foot." "%ic( up your left foot." "=o pic( up your ri!ht foot." 5f course you cannot. This is used to illustrate the fact that, if the ei!ht is completely on the supportin! foot, the other foot can move easily. $f the ei!ht is beteen both, it is nearly impossible to step ithout a eird contorted efort. 2henever startin! to dance, Always place your weight completely on onefoot and now start to move Forward with the other. +rom the lady-s point of vie she ill have a more con)dent movement and be sure that she can do hat you are as(in! of her ith your lead.The 'ule, "%ut your foot don here you are hen you !et there in time to the music," is a preeminent rule. 2hen you move you ill initiate the movement by )rst thin(in! of the direction you ill be endeavorin! tomove, and then proceed and move ith the entire body as a unit. =eitherthe "+oot," "#ead," "Arms," "Chest," nor any other part of the body should start to move before the other parts.5ften you ill be able to start movin! up and don, in place, in time to the music to start your car from a red li!ht, you ould not try to start at small step@. Commence turnin! sli!htly to the leftD.7. 'i!ht +oot &ac(ard. Continuin! to turn to the left.This is 5pen %osition.@"eft or 'i!ht@. Another term for this position hen the man turns left and the lady turns ri!ht, is "Counter %romenade %osition."A. The /an-s "eft #and and the "ady-s 'i!ht #and in contact.&. &oth /an and "ady lettin! !o ith ,both- of their hands. >This is 5pen %osition.@ Apart.B. 0ou may separate and then both !o +orard into hat is (non as "%romenade %osition." This can be done by separatin! and the man turnin! to the left and the lady to theri!ht.A. The /an-s 'i!ht #and and the "ady-s "eft #and in contact.&. &oth /an and "ady lettin! !o ith ,both- of their hands. >This is %romenade %osition.@&part.E. Side %ass Throu!h. This movement is li(ened to the lady passin! by his left side as if he ere a "&ull +i!hter," alloin! her to pass on his left side. This is lead by the man ma(in! a stron!er or more abrupt turn than he ould hen ta(in! a normal Side step. The Side %ass Throu!h is ended hen the lady is at arms len!th open and in front of him. As the lady completes her turn, she ill be face to face ith her partner. This may be used to move the lady into a Cross 5ver %osition or into 5pen &rea(s. 5n this maneuver the man usually maintains his left hand in contact ith the lady-s ri!ht.=oteF . . The movement from one position to another is made ith very !radualchan!es in body position. +or the most part the lady should follo the shoulder line of the man. As she moves past in the %ass Trou!h, she is in %romenade %osition. As she continues, she turns to face the man and stay face to face iththe shoulders in the same parallel line, but apart. The common error is fro the lady to "%anca(e." She ill inadvertently turn too much to the ri!ht then too much to the left. The very smooth and sli!ht turn to the ri!ht into %romenade %osition, and then the very subtle turn left to come bac( into line ith the partner must be practiced, especially, if after the %ass Throu!h the lady is lead into &ac(ard &rea(s.5nce you have established the ability to do the basic step, the Side pass throu!h, the &ac(ard 5pen &rea(s, and the Cross 5verKs, you ill be able to start the 3lusive #uban $otion. 0ou must be able to do the basic patterns listed here in a reasonable manner so that you can no thin( of the more comple1 Cuban /otion. Do not, hoever, leave the Cuban /otion until much later. $t ould be nicer, as lon! as you are dancin! fairly ell, to be practicin! the Llusive Cuban /otion and en.oyin! the !reat feelin! that this movement adds to your dancin!. $-m quite sure that you ill en.oy your "atin dancin! much more if you accomplish this at this time. 'lusive Cuban !otion(ometimes called "atin !otioneturn to Table of Contents&y practicin! the Cuban /otion early on, you ill continue to improve the "atin feelin! as you dance your ay throu!h all the patterns listed here. 0ou can choose to ait until later and or( on the development then. 0ou do so ith the (noled!e that you ill be or(in!on the incorrect motion. Doin! so you ill also (no that it ill ta(e you much lon!er to correct it later. 'emember the ada!e $ mentioned in the %reface of this boo(, "$t is better to teach a baby to spea( correctly in the be!innin! than it is to teach them to tal( baby-tal! and then chan!e the baby-tal! bac( into normal speech later."$ ill be discussin! the various areas of technique that is required here. $ ill brea( it don into a small bite si8e portion, easily di!ested. 0ou ill be required to later combine these procedures. This combination ill be necessary to ma(e the Cuban /otion feel as you ant it to feel. 6. %lace your feet about si1 to ei!ht inches apart . . .Side to Side . . .andith the toes 4ointing Forward, (eep the feet parallel.Do not turn the toes out.7. 0our ei!ht is no over the 'i!ht +oot . . . proceed to transfer the ei!ht to the "eft +oot . .. hile doin! so, and at the same time . . . move the head and upper part of the body . . . >this includes the shoulders don to the bottom of the rib ca!e@ . . . over the foot . . . all at the same time . . . hile movin! to the left, ith this part of the body . . . (eep the right hip here it is. 0ou ill no have to stretch the body as you surge the upper body to the left. >"hroughout the movement you will notice a constant e0pansion and contraction of the body as it moves from one position to the ne0t. "his e0pansion and contraction will allow the body to move from 5ide to 5ide and front to bac! without going up and down.@7@ +lat, +lat, +lat, +lat, +lat, +lat.=oteF . . $n each and every case the upper body must move over the steppin! foot as soon as possible. 0ou should not >if you use the #eel lead@, step ith the foot and then the upper body. $n each case as you pic( up the foot to ta(e the ne1t step, the heel should raise )rst then the ball, do not leave the foor ith the toe. The toe must maintain a very sli!ht contact ith the foor hile pic(in! up the foot by liftin! the upper le!. This releases the heel from the foor, folloed by the movement to the ne1t position ith the toe still in contact ith the foor. 2hen placin! the foot don for the ne1t step, you should step ith conviction, but as if you ere steppin! very delicately.Some li(en this movement to as if you ere al(in! on e!!s. $f you ere to atch a dancer movin! across the foor you should not be able to see li!ht under their foot as it moves from one position to the ne1t. 9o Not drag the foot from one stepto the ne0t.Timin!F Slo, *uic(, *uic(, Slo, *uic(, *uic(. 5r*uic(, *uic(, Slo, *uic(, *uic(, Slo.In #losed 4osition, while the man is wal!ing Forward, the 7ady is wal!ing &ac!ward, In ;pen 4osition the Forward or &ac!ward wal!s are referred by the direction they are moving in as an individual.*ady(s part . . . $ack"ard 'an(s part . . . $ack"ard6. "eft +oot &ac(ard. As in the &asic you ill have a tendency to turn ever so sli!htly. 2al(in! directly +orard or directly &ac(ard is a little too stilted. %ractice these steps curvin! to the left and to the 'i!ht.7. 'i!ht +oot &ac(ard. Curvin! to the position of the ne1t step.$ don-t (no hy it is called contrary because it is completely natural. SuQce it to say that common references are made in the notes from ay bac( in the be!innin! of !ood notation the term C&/ has been used to illustrate the fact that the 5pposite shoulder moves hile you are steppin! forard or bac(ard.$ (no that this pattern loo(s a little comple1. &ear ith it for the time bein!. 5nce you have mastered it you ill onder hat all the implied diQculty as about. $t is very natural to dance this pattern once you have mastered it and it is the basis for all Cha Cha movements. $ have included one pattern ith the Turnin! $ncluded. And 5ne pattern ithout the Turnin!. As you become pro)cient ith this step, "$ %romise", that all ill become clear. 0ou ill also notice that it is very hard to dance the &asic %attern ithout turnin!. The 0rst Dia/ram is The Turnin/ $asiceturn to Table of Contents The (econd Dia/ram is the $asic *ithoutthe Turnin/!an1s Part of Cha Cha $asic Pattern as Danced (trai/ht )or*ard and $ac+*ardemember 2 This is for practice in the be/innin/ onl#This should not be danced this *a#)or*ard and $ac+*ard $rea+seturn to Table of ContentsThe pattern as described here is for the man or lady as in 5pen %osition. >Apart@. The &rea(s may be ta(en to the +orard, &ac(ard, andSideays, they may also be ta(en 5utside %artner on both the +orard and &ac(ard &rea(s. )or*ard $rea+s as !an or as "ad#in Open Positioneturn to Table of ContentsThe 'hythm of these patterns as described here is Slo, *uic(, *uic(, Slo, *uic(, *uic(. This pattern is sometimes called Char!es, because hen you are in 5pen %osition, you ill both be movin! +orard toard each other sli!htly apart. As the /an steps +orard on his "eft +oot, the "ady ill be steppin! +orard on her 'i!ht +oot. &oth partners are movin! +orard and &ac(ard as if you ere atchin! your refectionin a mirror.'an(s part . . .6. "eft +oot +orard, =o Turn ill be used temporarily.7. 'i!ht +oot to Side and Sli!htly &ac(ard. A sli!ht chan!e in the placement of the foot ill be noted here.G.@ and >N.@ are a Char!e step, not a roc(in! step.+ootor(F #eel &all, &all, &all, #eel, #eel &all, &all, &all, #eel, #eel.Alternative +ootor(F &all +lat, &all, &all, #eel, &all +lat, &all, &all, #eel, &all +lat.Alternative +ootor(F >7@+lat, &all, &all, #eel, +lat, &all, &all, #eel, +lat.Timin!F Slo, *uic(, *uic(, Slo, *uic(, *uic(, Slo. $ac+*ard $rea+s as !an or as "ad#in Open Positioneturn to Table of ContentsThe 'hythm of these patterns as described here is *uic(, *uic(, Slo. &oth partners are movin! &ac(ard and +orard as if you ere atchin! your refection in a mirror.'an(s part . . .Commence this pattern ith a &asic Step in the 'hythm of *uic(, *uic(, Slo, *uic(, *uic(, Slo. startin! the &asic Side, To!ether, Side, then . . .6. "eft +oot Side and Sli!htly &ac(ard. =o Turn ill be used temporarily.7. 'i!ht +oot &ac(ard.7@F+lat, &all #eel, &all #eel, +lat, &all #eel, &all #eel.Timin!F*uic(, *uic(, Slo, *uic(, *uic(, *uic(.*ady(s part . . .6. 'i!ht +oot &ac(ard in C&/% and %artner 5utside ith the partner on left. This part is noted.5ne ei!ht beteen 6 and 7.7 . "eft +oot in place in C&/% ith %artner 5utside on "eft Side. %repare to turn left.7.@&all, +lat, &all #eel, &all, +lat, &all #eel.Timin!F*uic(, *uic(, Slo, *uic(, *uic(, Slo."he ;utside &rea!s may be 9anced the reverse . . . "he man 5tarting &ac!ward and the 7ady 5tarting Forward. )or*ard and $ac+*ard oc+seturn to Table of ContentsThe +orard and &ac(ard 'oc(s are danced the same as the +orard and &ac(ard &rea(s . . . e1cept for the folloin!F6. There is a transfer from the +orard to the &ac(ard step rather than a clear step +orard or &ac(ard. The body ei!ht ill not !et completely over the foot before a chan!e of direction ta(es place.7. There is a !ood deal less accent on the initial +orard or &ac(ard steps. The step +orard on the 'oc(s is more li(e the dancer sayin! "$ for!ot. $ don-t really ant to !o there." #e then chan!es his direction. $n the +orard and &ac(ard &rea(s a de)nite step +orard or &ac(ard, is made before the chan!e of direction.Slo, *uic(, *uic(, Slo, *uic(, *uic(, Slo, *uic(, *uic(, Slo.@ 'an(s steps are . . . +orard, Side, &ac(ard &rea(, $n place, To!ether, &ac(ard &rea(, $n place, Side, To!ether, &ac(. *ady(s steps are . . . &ac(ard, Side, &ac(ard &rea(, $n %lace, +orard, +orard, +orard, +orard, +orard, +orard.=oteF . . The lady is lead into a &rea( bac( from the basic. As the man moves +orard on Step >B.@ #e leads her by raisin! his left arm sli!htly to the left of the center line of her body #e allos the lady to al( under the arm as sheal(s steps >E.@ thru >6A.@ +orard in Cuban 2al(s. The lady al(s under her left arm in a ti!ht circle endin! +or4ard on her "eft +oot Slo. The lady-s steps >E.@ thru >6A.@ A bac( half of the basic follos as the lady moves +orard on this last "eft +oot +orard on >6A.@ $nto Closed %osition. 5n the last ri!ht foot +orard on Slo, she actually ends in the closed position hile man leads her to him and does the bac( half of the &asic. $t is helpful if the man starts to turn left as he steps bac(ard on the 'i!ht +oot. &. The other underarm turn can be done here by instead of brin!in! the lady in line on the step >6A.@ +rom the above pattern, the man leads the lady under to the ri!ht by liftin! the hand to the left of the center line of the lady. This ill cause her to al( under in a circle to the ri!ht. 0ou should end as in the above pattern, as the lady continues to al( +orard on her "eft +oot into the closin! basic. The man-s part durin! this is to continue the &ac(ard &rea(s until the lady is ready to come bac( into closed position on his 'i!ht +oot bac(.=oteF . . The man leads the lady under his arm to his ri!ht by liftin! the arm on the left side of the lady-s center. After she has al(ed under, in a circle to the left, and a!ain comes toard the man he lifts his arm to the other side of her >ri!ht side@. She ill no al( under in a circle to the ri!ht. 2hen the lady completes the circle to theleft she ill move toard the man and .oin him on his basic turnin! to the left.C. The underarm turn may be commenced directly from the 5pen &rea( by .ust liftin! the arm to the lady-s ri!ht side for asin!le turn to the ri!ht, .oinin! the man after one underarm turn. The steps are al(ed in a circle. The lady does not try tospin around.D. Mnderarm turns may be done simultaneously. The man may turn at the same time as the lady. &y doin! a &rea( &ac(in 5pen %osition the man leads the lady to do the same step as the underarm turn but the man lets the arm !o as the ladystarts under her arm. The lady can al( into the simultaneous turn ithout holdin! hands. The lady turnin! to the ri!ht and the man turnin! to the left. &oth parties do a Cuban al( until they complete the turn and are a!ain facin! each other. $n this case the man ill possibly end his al( on the "eft +oot +orard in basic as the lady .oins him after her "eft +oot +orard. The man ill step, "eft Side, To!ether, +orard into the basic, the lady ill step 'i!ht Side, To!ether,&ac(ard.=oteF . . The ima!ination is a !reat thin!, .ust be careful not to ma(e too many arm position chan!es or too many abrupt chan!es of body positions. Lach step must be able to be lead and comfortable for both partners. $f the choreo!raphy is too busy or if the chan!es are too comple1 the partner ill not be able to move ith the partner as they desire.Advanced !ovement and Advanced (t#lin/Techni%ues&eturn to Table of Contents$ have added this technique into the advanced techniques, hoever, this can be considered as very basic. The lady al(s under her on hand,not the man-s. $f she raises her hand hi!h enou!h to al( under her hand, she ill not have to duc(. 'emember the lady is responsible of raisin! her hand hi!h enou!h to al( under. She does not ait for the man to lift his hand hi!h enou!h. The lady does not initiate the turn but as soon as the man indicates there is a turn comin! she responds by liftin! her hand to the proper hei!ht.$f the lady supports her on hand and arms the man ill not "Cran(" the lady around. This bein! the "=52 Heneration" let-s let the ladies support themselves, and not push them into the steps.The man only indicates the direction the lady is to turn. #e does not push or pull her into the turn. The only lead necessary for the lady to turnis for the man to lift the arm to one side of the lady-s center line or the other.#e does not try to turn the lady hile his hand is up hi!h.2henever a partnership moves into an 5pen %osition, Counter %romenade %osition, or Apart%osition, the arms must be held ad a comfortable position. This position should be close to the position in hich you start. Try not to loo( as if somebody is holdin! a !un on you or you are in a "hold up" and are standin! ith the arms too upri!ht.As you move into open position, the arms should alays be balanced. $f the left arm is e1tended to the left, the ri!ht arm should be held at the same hei!ht. There are some instances here you mi!ht antto hold one hand or arm hi!her than the other, but, this should be done on purpose, not that the arms .ust ended there. $f, as man you intend to lift the ri!ht arm hi!h in an open position, ma(e sure there is a purpose tothe movement.2atch the rists333 /a(e sure that you don-t loo( li(e someone shot you in the arm and your hand .ust dropped dead. This a common error hen separatin! from closed position to open position on bac(ard &rea(s. $f you see it, it is ron!3330ou are dancin! ith your partner. $f you move apart, loo( at your partner. ;eep in mind that you are interested in her, or him. /ovin! into open position, and loo(in! aay indicates a serious attitude problem. An e1ception to this is if you are attemptin! to be coy or shy. 0ou may loo( aay no and a!ain for efect, but you should not appear to be the only person of importance, on the foor and you don1t care here or hat yourpartner is doin!.The man at times ill frame the lady as you ould a picture. "atin dancin! in !eneral is an intimate e1perience. 0ou may loo( aay for a purpose, but, for the most part you are dancin! ith your partner. &e interested in them. =ot only do you (eep this in mind so that you are dancin! with your partner, but you must also consider that you ish to (no here your partner is !oin! and hat they are doin!.Clave1 Timin/ 2 Advanced Techni%ueseturn to Table of Contents-This may be used by the e.perienced dancer or the dancer that "ishes to achievea high standard of dancing after they have gotten the otherbasics do"n.#$ have not discussed the structure of music in relation to measures. /usic is ritten in !roups of measures.