Technique of LATIN DANCING Walter LairdGENERAL The letters (A), (M) and (F) in the chart headings after the name of the figure indicate that the figure, is in the Associate, Member or Fellow syllabus respectively. USING THE CHARTS ‘When a particular figure is being dealt with during an examination never attempt to give too much Information at one time. Best results will be obtained by giving the information under each “Chart Heading” separately, together with either tho appropriate ‘Step No.” or “Timing” for each movement. This approach, of course, should also be used when teaching figures to pupils. FIRST PRINCIPLES POISE For Rumba and Cha Cha Cha: 4. Stand with feot together in a normal, relaxed manner. 2. Liftrib-cage, straighten spine but do not raise shoulders. 3. Take a step to side on either foot and straighten supporting leg. Transfer full weight to this foot allowing the pelvis to move sideways and back so that the weight is feltto bo noar the heel of the standing foot. The knee of the supporting leg is locked back. The degree that the pelvis is moved back must only be such that the position of the upper Part of the body is not affected. For Samba and Jive: 1. Stand with feet together in a normal, relaxed manner. 2. Lift rib-cage, straighton spine but do not raise shoulders. 3. Take a step to side on either foot and straighten supporting leg. Transfer full weight to this foot keeping the weight towards the ball of the foot with the heel still in contact with the floor. The knee of the supporting leg must not be locked back, Exceptions to this poise occur in certain figures such as the Open Rocks, Backward Rocks and Plait in Samba anc the Chicken Walks in Jive. Since ro hip or pelvic action is used in the Paso Doble the poise for ths dance differs in the following respects: 1. The pelvis is tilted slightly forward 2. The weight is collected well over the balls of the feot 3. When the knees are straightened, they are not, locked back. ‘An exception occurs in the Spanish Line. ALIGNMENT The alignments given under the charts refer to the direction in which the body is facing or backing in relation to the room. When a shoulder lead is used the alignments not considered affected. Alignment is normally only important when considering figures used in progressive dances. ‘The Rumba, Cha Cha Cha and Jive are non- progressive dances. The Samba and Paso Doble are progressive dances. AMOUNTS OF TURN In the Latin dances the feet are never parallel! except whon thoy are closed. This “foot-turn"’ is always outwards and can be associated with the foot carrying weight or part weight, the foot without ‘weight or both feet. These foot positions can be due to “inherent turn’ or foot placement. Because of this foot turn-out the amount of turn made by the feet and the body is often not identical. Typical examples are 2nd step of Whisks in Samba; Checked Forward Walkin Rumba and Cha Cha Cha and all Backward Walks in Rumba and Cha Cha Cha When the foot carrying weight is not facing in the same direction as the body on the completion of a step the Amount of Turn on that step is standardised as that made by the body and not the feet. * Due to the mechanics of Backward Walks in Rumba and Cha Cha Cha the foot carrying weight on completion of a walk will turn out approximately 1/16th. This turn is known as inherent turn”, because the walk cannot be executed on balance without itCHECKED FORWARD WALK In Rumba and Cha Cha Cha when a forward step is used to change direction with little or no turn, the action used must be difterent trom that of a normal Forward Walk, since at the end of a normal Forward Walk the poise and weight distribution leave the body committed to move forward on the following step. The step used to produce a check in forward progression is called a Checked Forward Walk and differs from the normal Forward Walk as ‘ollows: 1. The stepping foot is allowed to move toa position that is in advance of the body. 2. Only part-weight is collected onto stepping foot, 3, The knee of the stationary leg is allowed to flex and close towards the knee of the moving leg. 4. The toe of the stopping foot is turned out approximately 1/16th. Otherwise the action used is simitar toa normal Forward Walk: i.e. the footwork is the same, the knee of the stepping iootis straightened before weight (part-weight) is collected and a hip action occurs. DELAYED WALKS During certain figures, mainly in Rumba and Cha Cha Cha, a special type of walk action is introduced to achieve changes in body and foot speeds which enhance rhythmic interpretation. ‘These are called Delayed Walks and there are three types: 1. Delayed Forward Walk, knee compressed. 2. Delayed Forward Walk, knee straight. 3. Delayed Backward Walk, knee compressed. During these walks the foot is first moved into position without full weight transier. Weight is then transforred later than is normal and the turn appropriate to the movement is then made. Depending upon the position in which the Delayed Forward Walk is used, the knee of the stepping leg may either be straight (as in the normal Forward Walk) or compressed while without full weight. The knee of the leg collecting weight is always straightened when full weight is transterred. The knee of the stepping leg of all Delayed Backward Walks is always compressed while without full weight The Charts indicate all positions in which @ Delayed Walk should be used. A note to appropriate charts states whether the Delayed Forward Walk has a straight or compressed knee while without weight FORWARD WALK TURNING When it is necessary to make a turn from moving forward to continue moving forward in another direction or backward on the following step, without interrupting the normal hip/body action, a “Forward Walk Turning” is used. The change in direction ie achieved by dancing a normal Forward Walk action but with a gradual turnin the required direction made throughout the step. ‘An examplo of the use of the Forward Walk Turning to continue moving forward in another direction is the last step for man in all tigures that finish in Fan Position in the Rumba When using a Forward Walk Turning to change direction from moving forward to moving backward the maximum turn that can be mace during the Forward Walk Turning is 3/8. The Foot Position at the end of this step is “Back and slightly to side". the figure being danced requires more turn to be made this is achieved during the following backward step. ‘An example of the use of the Forward Walk ‘Turning to change direction from moving forward to moving backward occurs in Rumba during the last two steps, for lady, in all figures that finish in Fan Position or Open Position. THE LATIN CROSS When one leg is crossed behind or in frontoof the other in the Latin dances the position achieved is always the same. This position is called a Latin Cross. The following is an analysis of the RF crossed behind LF as Man or Lady. When RF is croseod behind LF, both knees will be compressed and the hips level. The toe of the RF will be turned out and the R knee will be tucked behind the | knee. Depending on the lenath of the eg from knee to foot and the amount of ankle stretcti, the toe of the AF will be approximately 18cm from the heel of the LF. The foot position for a Latin Cross, RF behind LF is given as “AF crossed behind LF The weight distribution will differ depending on the figure being danced. A similar position will be achioved if LF is crossed behind RF, orif the crossed position results from a swivel on one foot to the crossed position. 10