Latin Basics - Understand the Mechanics of Latin Dancing

Posture and Hold

Posture:

Basic position of body:

Head, shoulders, ribcage, hip, leg, stacked up and connected, not tight, legs moves like scissors.

Tummy muscle pulled in

Shoulder is lowered: Really settle both shoulders down. ("Squeeze" shoulder blades down back center.)

Chest is release down to floor, lower chest muscle, no blown up chest, feeling of exhaling, let all air out

Look straight ahead

Hold your own frame up

The body (center) should be very "lifted" and "up", otherwise Lady is heavy on Man.

Upper body: light; feet: heavy, sticky. This is like stepping in water. Arms above water, light. Feet below
water, heavy.

No drop-dead elbows. Imagine a balloon under arms. The frame is "up" feeling, round with energy.

Try to create a large volume between Man and Lady, slightly pushing away from each other. Think about
opposition.

Never break body in order to get more hip action. Have to keep basic fundamentals clear and then do as
much hip action as you can.

In Latin dances, weight is held more forward on balls of the feet. This allows more free movement in the
hips.

The hold in Latin dances are closer than that of Standard dances.

Closed hold:

Man's L forearm to Lady's R forearm. Lady's L hand is higher on Man's R arm, around Man's R shoulder,
rest on shoulder blade.

It's ok for forearms to touch (perpendicular to ground) or leave some space (forearm is forward), but
never bend arm 'backward'. Keep tone in arm.

Fingers of man's left hand closed around lady's right hand.

Depending on height differences, Lady's upper arm is probably close to parallel to floor.
Stand about 6in apart from partner.

Open hold:

(Lady) keep tone in the arm, elbow "out" or "down" - different instructors have different preferences.
But the important part is to keep tone in arm. Some find arms on the side with elbow down is more
natural.

Man should hold the lady's hand with thumb on the back of her hand, the first two fingers on the palm
of her hand, with just tight enough a grip to clearly lead and communicate his position.

Lead at lady's waist level.

Stand at about arms length from partner.

Getting into position in Latin dances (basic way):

Man raises his energy and offers his left hand.

Lady: pause, see, and sense. Respond with right hand.

Spine positions

With one foot in front of another:

Spine split between 2 feet. (Both feet flat.)

Spine stacked over whole foot. (The other foot is "demi-pointe" position.)

Spine over front of foot. (The other foot is in "pointe" position.)

A typical Latin movement will go through these spine positions.

Leg Actions

Horizontal action: release back leg, track (drawling a straight line through), move to front horizontally,
front ankle directly below knee.

Vertical action: Contract thighs, pushing knee down and backwards to create lengthening of the leg.
Common mistakes: reach from knee outwards.

Ladies: strive to keep legs together, minimize space between thighs.

Feet Positions

Whole foot (or Flat): feet lined up with knees (do not turn out foot, turn out is from hip socket).
Demi-pointe position (arch) - common mistake is missing this step and go directly to pointe position.
Foot is placed so that from toe to ball of foot is pressing into floor, with the arch flexed.

Pointe: Feet are causing spine to move more. Foot is placed so that only tips of toes are pressing into
floor, with the foot straight, feeling of the heel being drawn into the leg, arch flexed.

"Working from floor on and up" - it's the feet causing the spine to move (when doing demi-pointe and
pointe, it will cause spine to move). Common mistake: gravity causing spine to move.

Turn out

Foot is naturally turned out on backward and side steps.

Turn out is also on forward step when it's checked and followed by weight change to back foot.

On forward step, tracking of moving foot is straighter.

As weight is taken on to the front foot, the back foot will turn out naturally. Back foot does not turn out
before weight is on front of the front foot. (This helps stability.)

Amount of turn out: 1/16 to 1/8, depending on physique.

Keep energy from feet at all times. For basic movements, feet should not leave ground. Feet should
maintain the energy you feel when you stand on balls of the feet.

Pressure on the ground is what creates the grounded, solid look (as opposed to light). Feet should not be
"loose" without tone.

When feet are in side by side position, the pressure is not to push out, the feeling is squeezing to inside
thigh of both legs.

Practice by placing a piece of paper under each foot. For every move, the feet should be taking the paper
with it.

Hold the foot on floor as long as possible, then move foot quickly without missing stepping on beat.
(Except for Jive).

This may initially look robotic, but is a very necessary foundation. Later, add in body movement.

Footwork: mostly ball flat in Latin dances, a little more pressure on inside edge of ball of foot.

Part of foot is in contact with floor at all times.

Trailing foot: very important for the trailing foot to be turned out, also need to "break the ankle", "wing
the ankle" - there is downward pressure from inside of ball of foot. (Think opposition.)

When stepping forward or to side, the heel of the other foot is released with IE of ball of foot in contact
with floor, with "broken ankle".
Track feet under body.

Moving foot from one position to another, the leg must track under the body.

All forward/backward open turns: start with step passing under body and then ending to front or back.

Terms used:

Transfer weight: foot has remained with pressure on the floor at the end of preceding step. (i.e. moving
partial weight)

Replace weight: pressure is released from floor at the end of preceding step. (i.e. moving full weight)

CBM and CBMP

CBMP is a foot position where the foot steps the center line. Strong CMBP takes the foot strongly across
the line. This is also called Latin Cross, Cuban Cross, or 5th position.

Closed 5th: back toe right behind front heel

Open 5th: there is some space between back toe and front heel

CBM: Movement - taking opposite shoulder toward the moving leg. This is used in Shoulder to Shoulder
and Spot Turn.

Body isolation and Figure 8

Whole body is working in figure 8 (not just hips). It creates the characteristics of the dance. It is about
the internal state of the body. Anytime an external part is moved, think about how it's created using
internal part of body. Core movements are connected to all external movements.

3 different isolation used in Figure 8:

Twisting (Practice with feet together. Straight knees.) Twist left and right. This action is most important. A
lot of power. Really stretch (on 41). Get deeper in the action.

Twisting is when turn commences in hips only.

Rotational: hip rotates around spine.

Twisting in Latin dances is often associated with leg movement.

This is also the action for "settling" which happens on straight leg, on "&" beat. It commences hip
movement, it often causes the other foot to move horizontally.

Compression: (Practice with feet together.) Hip moves laterally. For this exercise, do not allow hip to
twist and move back. Squeeze, compress sides.
You could isolate hips without bending knees. Or, you could allow knees to bend.

Compression creates a high hip on the compressed side.

When compressing one side, that side's energy should be going up (not down), think about "opposition".

Lateral: Hips move to left and right with minimal rotation. Some dancers dance ChaCha Chasse using
lateral movement. 4&: the 2 steps have equal weight distribution.

Pendulum swing action: proper compression will create the pendulum action.

In practice, allow knee to bend, it creates more space.

In Latin dances, pendulum action is associated with weight/spinal transfer.

"Cuban motion is the result of bending and straightening the knees" - a simple way of describing it in
some studios when teaching beginners. Use muscle in the core to develop proper figure 8 action as
described in details below.

Figure 8

Start with feet apart, straight legs. Compress on the left side, which creates L hip high, R hip low.

Twisting: Keep the compression, then twist, still has L hip high, R hip low. Hips are on diagonal. This
creates internal space. Do not allow rib cage to rotation with hip. When you twist and take left hip back,
take left shoulder forward (not back) in opposition.

Pendulum diagonally forward to right. Fill the internal space with body action. Now, R hip is high, L hip is
low. Don't clip this short and start twisting early. To make action full with more power, finish pendulum
action to create more circumference.

The default movement is to not do ribcage displacement, pendulum and transfer weight at the same
time, the spine and hip arrive on right foot together.

As a choice and for effect, one could choose to do ribcage displacement (moving ribcage first to right and
delay pendulum action) - but do not use this as default movement.

Compress on the right side, just having R hip even higher. Transfer full weight on RF.

Twist to right and back.

Pendulum diagonally forward to left. (When there is a partner, the partners are working "in" toward each
other. Keep body weight forward.) [Repeat]

The figure 8 body action should be going on through out the dance. Body needs to be active at all times.
It could be slowed down, but not stopped.
Rib cage has figure 8 action as well. It is layered with the hip figure 8 action.

Latin Movements

Forward Walks - Putting Spine, Hips, Legs and Feet together

Every step commences with a slight flexed knee. Knee straightens just before it gets to its position.

Continuous hip movement (not choppy), do not turn out foot too much when stepping forward. Relax
shoulder. Look forward.

Combine spine movement with leg, feet and hip action.

Start: Spine over front of foot (in this example, LF), back foot (RF) in pointe position. L hip high, R hip low.

For basic technique, do not use back foot swivel to create high hip. back foot goes from flat-demi-pointe
to solid pointe position, no swivel.

"&": (The settling count)

Internal action: twisting to left (horizontal action), causing R leg's horizontal action - Release R leg, track,
ankle below knee (or RF closes to LF at ankle for building up greater speed to strike RF out later)

No weight on front foot/toe yet, but spine continues moving forward (but leave hip "behind")

Keep steps small.

"2": (Step on whole count.)

Internal action: compress on left side (vertical action), causing R leg's vertical action (compress thighs
pushing knee down and back). R leg goes through pointe (at this time hip is still behind, L hip high on
back foot), demi-pointe, flat action (at this point, both feet are flat, split weight.) Spine is moving slightly
forward.

L hip high, R hip low. hip is diagonal now. Do not attempt to increase hip motion by sticking head forward
and butt back. Use compression, there is no break at hip. Get hip, rib cage, head on one vertical line. Do
as much hip motion as you can while keeping body alignment.

Rotate L side around spine more, open L side, LF toe turns out

Push LF to demi-pointe to move spine forward, spine on whole foot, in the meantime, hips are neutral,
but diagonal.
Focus on connected movement, moving spine forward as the same time of pushing foot to demi-point,
do not push foot and leaving hip back to attempt to create high hip in the back.

Continue LF to pointe, spine on front of R foot, compress R side, this is reaching the maximum, R hip is
high, L hip is low, still same diagonal.

At the same time, body should not bend backward. Keep body alignment. Do not isolate the upper body.
The whole upper body moves as a unit.

From shoulder, there is downward pressure, compress. Create curve flared front leg, it's on the edge of
moving/twisting.

At this time, the LF (back foot) could have slightly more turn out. (Turned out toe will end in line with
heel of front foot.)

Finish with tail bone down. Use pressure on back foot, ankle downward. So there is good axis for
swivel/direction change.

If it feels balance is off, first check alignment of body, shoulder should be square to front (there is the
opposition to the hips, i.e. if left hip is back, left shoulder should feel forward, the opposition - this helps
with the balance.)

"&": repeat on R side, twist to the right, release L leg.

Repeat: RF: Demi, pointe, release, demi, flat, [LF: demi, pointe, release, demi, flat...]

Spine moves steadily over the foot and continue to move throughout the steps.

Spine and hips movement could slow down or speed up, but never stops. Feet and leg movement could
stop.

Feet are like the drums: sharp and staccato (it has a pausing action and then place).

Connection actions: Do not place the foot without moving the spine (except when it's intentional
delayed walk). You want them to be connected. Hip has connected movement with spine.

Pendulum action of hips is connected to transferring of the spine. When hips swings forward, spine
moves forward.

Twisting action of the hips is connected with the movement of the legs.

Back Walks

For back walks, body and hip just have lateral, pendulum action (only for consecutive backward actions)
- no twist. (If figure 8 were to be done, it would need to be "backward" figure 8 to make leg move the
right direction - backward. Normal figure 8 is such that it moves legs forward, not backward.)
Keep body weight more forward.

Start with RF in front. Weight on LF. Imagine a string pulling from left side to R toe.

On "&", contract, squeeze left side (laterally), it pulls the string to move the R leg.

Quick release the R knee, do not drag toe/leg back. Do not let gravity take the body back. This actually
allows for longer leg lines and faster/sharper leg action.

Connected movement (hip and leg).

It's important to release the foot ahead of the spine. Do not pull body back. Body is quite forward.

Accelerate front foot, Squeeze thighs as scissors. Allow knee to drape over (cross).

Track with inside edge of RF till it gets to the "important spot" where the two knees are "locked
together" (the bones on 2 knees fits perfectly together). This is as big a back step as it gets. Keep it small,
if the step is too big, butt/hip will stick out when settling on it.

Upper thighs are very close and tight. The whole time - keep body forward, do not let it fall back, do not
let gravity take the step.

At this spot (this is the marker for all backwards steps), RF is on pointe position, then put RF down in
demi-pointe position (demi in the perpendicular position, not too flat, do not point the back foot first,
then make it demi-pointe).

Then roll RF down flat (straightening back leg), going to split weight position. Maintain the forward
pressure on front foot (like elder's cane). This is the point when you have both feet flat. Do not start
releasing front heel until back foot is flat, i.e. do not go on balls of both feet at any one time. Back foot
has controlled lowering. (Slight turn out, not too much, otherwise the other foot is going to click on it.)

Stretch the front leg, LF goes to demi-pointe, then pointe. At this time, hip is neutral, both legs are
straight. (Always pointe front toe when stepping back.)

It's the pushing LF from flat to demi to pointe that made hips neutral.

Front foot (LF) should not slide on floor when RF receives weight. If that happens, it means momentum
is dragging body back. Don't do that. Need to keep body in forward poise and use muscle to release LF
and point it back.

There is no more settling, twisting in back walks, that would be pulling energy away from partner.
Though this is walking back, the energy is still toward your partner.

Contract right side, LF pushes the floor, quick release L knee, do not let body fall back on its own. Body is
quite forward. (repeat)

The main difference in "41" between Forward and Back Walk

Leg in Back Walk accelerates ahead of spine and slowly accepts weight.

In Forward Walk, spine moves and foot immediately accepts weight.

In Latin dancing, most often, spine moves steadily, but leg/foot moves faster and sharper.

Side Steps

Side step size: stand on one foot, point the other foot to the side (without moving spine). Step the other
foot down, generally it's right under the shoulder. That's how much the feet are apart from each other.

Keep pressing inside edge of ball of foot (IEBF) into floor. Rotate ankle downward "breaking ankle". The
feet moves the spine. Never begin to transfer weight until the stepping leg is straight.

Example: stepping RF to right side (using Rumba timing):

"2": L side twist, RF track with inside edge to side directly to the spot.

(Not like other dances, if RF starts in the back, it does not go in to LF first and then out, do not do 90
degree angle.)

At this time, full weight is still on left leg, RF IEBF is pressed into floor. (Leading with ribs to right for
greater effect.)

Compress left side to straighten R leg. place right heel on floor.

Step size: Ankle below the shoulder for the side step, not bigger.

Allow R leg to straighten at the same time moving spine to a split weight position. Straight, split weight
on flat foot.

With two straight legs, both heels on floor, roll using inside edge of the feet. Roll onto RF, feet moves
spine. Outside of LF peel off floor, till it can't peel anymore, go to demi-pointe, and then to pointe when
it's appropriate (When pointing - use sickeled ankle, ankle aiming down the ground.)

Pendulum action to diagonal right.

R hip is high, L hip is low.

"&": R hip twist to draw inside edge of toe close to the other foot. heel leads the rest of the foot,
pressure IEBF of LF on floor maintained until left heel is brushing right ankle, left knee crossing in front of
right leg.

Two feet are closed now.

No artificial "tick" tilting pelvis forward. center/spine moving is a result of figure 8.

"3", Pendulum to left, moving spine to straight L leg. Compress L side to get high L hip, low R hip.

"&": L hip twist, connected action sending R leg out to side, slightly diagonally forward. Opposition.

"41": repeat similar to count "2". Spine shifts to right.

on "1", hips should not move beyond the leg line, i.e. do not break body alignment.

Practice Rumba Cucarachas (feet to the side, then closes) and Cuban Rocks (feet are kept apart)

These are traditionally executed with both heels remaining on floor, it is now often seen in competitions,
and acceptable, to create the line with the free foot. (Lift heel of the foot without weight, pressing with
IEB for greater extension.)

Lead with the ribs: (only do this for greater effect after fundamentals are solid)

The hips on their own can't move very much. The ribs moving in opposition to the hips creates the
appearance of much more action.

As you transfer weight, lead with the ribs, and as the hips come over, switch move the ribs the other way.

The ribs are already moving to the right before "2".

2: (Starting RF to side)

keep both feet heels down (traditional way)

3: Weight on to LF

Rotating R hip to R,

RF heel up, push

4: Collect RF to LF

2 heels together, RF without weight is Inside Edge of Foot.

compress L side, L shoulder down, really squeeze; R chest projects forward. Everything is around the
spine.

Always squeeze the side of the standing leg. The other side chest forward.

1: switch foot

Lady: L knee can go over to R side more, making more shape/line

Compress R side, R shoulder down, really squeeze; L chest projects forward.

Breathe out.

During the whole exercise:

Weight transfer should always happen through pressing IEB. Never bend knees to push.

Keep upper body as still (and flat) as possible, don't let shoulders move toward the direction hip is
moving. Work on isolation.

Practice this slowly and then gradually increase speed.

Forward Checked Walk

This is the action used in Rumba basic.

2: LF fwd, basic technique.

Start with split weight, both feet flat, R hip high in back, L hip low in front.

Push RF to demi-pointe, hips pendulum

RF to pointe, hips pendulum, diagonally fwd, finish (compress) all the way with spine on the foot. Do not
disturb body alignment.

&: L side twists. Twisting causes R leg checking action, with R knee goes to the spot. start preparing
moving back.

RF in demi-pointe, arch perpendicular to floor (as much as possible). ("broken ankle").

Back foot (RF) does not move, it stays in same spot.

In Rumba, weight is over whole foot - which is Forward Checked Walk. (Some instructors say it's 70-30
weight split.) In Cha Cha, it will be Forward Check Action and weight is more back.

Finish L side twisting to back.

3: Push LF to transfer weight to whole foot on RF, R hip diagonally fwd right (yes, RF is back, R hip
forward)

&: R hip twist, connected movement - L leg to side. L hip diagonally fwd.

Two Types of Direction Changes

There are really just 2 types of direction changes (though the amount of turn could vary). Tap in the
power of standing leg - standing side.

Swivel to outside: Rotate to outside of your standing leg. e.g. turn to Right when RF in front.

Whole spine over whole foot.

Key: as part of previous forward walk, make sure spine keeps moving forward till it's completely over the
foot, finish the hip pendulum action to swing diagonally up (without disturbing the body shape). (With
hip up, the twisting has larger circumference.)

Leg and upper body is on straight line, no bending line at hip joint. (Think about level fruit basket.)

Test - completely over the foot. Do (ballet) passe to test. Should be able to stand on the foot without
adjustment.

Hips are locked down, rib cage sits right on top - whole solid axis

Pull the right side back (twisting R hip), swivel on axis.

Twist the core, not using shoulder.

To stop the turn and not throw off balance, use opposition - after twisting to R, R side of body keep
forward (while R hip it continuing turning to R)

For basic swivel actions

Do not pause and have free leg hang by standing leg before stepping out. (Advanced dancers may make
conscious choice to add accent.) Make it all one action, moving foot continue to the position where
ankle below the knee, then use vertical action to push knee down and stop at split weight position.

Then, add more twist (hip going back), but spine is moving forward. create internal space.

Do not do delayed walk after turning (i.e. do not extend from knee and spine didn't move with it). Make
sure ankle comes under the knee and then press knee down. Spine moves as free leg straightens.

Forward Walk Turn: turn to the inside of the standing leg. e.g. turn left, starting from RF in front, split
weight position.

Axis to rotate around is not completely over the foot. It in the middle/center of the two feet.

There is pressure on the back toe.

From split weight position, feet flat. When rotating, energy comes from the back foot and leg. apply
pressure on ball of the back foot, rotate around the center axis. The pressing causes the turning.

This is not heel turn. Turn is made on ball of foot while keeping foot flat.

The other foot (e.g. RF, the one originally in front) stays flat while turning on ball.

Keep pressure on ball of LF foot.

Do not rise and turn on ball of both feet which will make body "pop up". Body height stays flat.

Ending with LF on demi-pointe, proping cane, straight legs. Body is still forward.
Make sure spine does not keep on moving back during the turn. This allows either forward, backward,
side movement. Compress on right side to continue.

To continue moving backward, point the foot, release knee and move back.

To continue moving forward, continue to twist hip, lower left heel and press to flat and continue.

In some figures, "Forward Walk Turn Action" is used, it is referring to the use of pressure in the back toe
to rotate and turn. The back toe will keep pressure. In some dances (Rumba, slower), sometimes, you'd
want to emphasize the full transfer of the weight to standing leg (for brush action in Alemana). For
Switch Turn, do the normal Forward Walk turn because it's much quicker.

When practicing these specific points, eliminate all other extra little things that the body (arms, hands)
tends to want to do.

Turns can be either sharp, quick, sudden OR steady, slow sustained - two contrasting energies.

A turn made on supporting foot before next step is placed starts at the end of preceding step (previous
'&' or 'a' beat).

The amount of turn in Latin dances is not so exact. Express yourself.

Spins and Turns

Elements for good spins:

Good posture first:

Stand correctly first: tummy pulled in; exhale to have chest down to floor; shoulders down; look straight
ahead.

Understand which part of the foot to turn on: turn on ball of the foot or flat foot, turn with feet together
or apart.

Arm movement.

Exercise:

Practice balancing: standing on one flat foot, or one ball of foot.

Head spotting, while keeping body posture. Practice turning to both left and right. Nose is the last to
leave and first to arrive. Do not bend upper body in any way. Keep posture and balance.

Three-step-turn:

RF step to side (with full weight on straight leg, flat foot) - LF closes to RF, turn - RF step to side
Do not make step too big. Commit weight fully on standing foot, otherwise, you'll fall during turn.

Head spotting either forward or along down the line.

Full spin on one foot to left and right: (Example: Lady's turn on LF when finishing Fencing or in Three
Threes)

Start with good posture, weight is on one foot, stand completely over a straight leg, point the other foot
to the side, tummy muscle up, arms winds to left when turning right.

Head spot forward. Turn on ball of the the foot (not on edge).

During the turn, the other foot closes to turning foot, arms close to body.

Use sudden impulse from foot, use the twist in hip, center turning axis on turning foot, the other foot
trails along on the side, use ball of trailing foot to stop the turn by stepping side. (could use arms out to
stop turn as well.)

Do not over swing the upper body in order to gain speed, that will throw lady off balance.

Spiral Turns:

Check posture, tighten tummy, very strong center.

Rumba Timing: start with RF back break, LF replace, RF small step forward track underneath the body,
slightly across LF. There is a bit of wind up.

Use head spotting - it will make turn look a lot sharper. Keep head looking forward, turning body and
hips left to unwind, turn head sharply and continue to turn body and wrap the free foot in figure 4
position.

Turning after weight has been transferred. Turn upper body first, leave head behind. Then, head arrives
first. Turn on ball of foot.

There are a few different styles of Spiral Turns:

High Spiral: Forward Walk turn and continue to turn while keeping the other non-weight bearing leg
straight.

Example: for Left Spiral - step RF forward, forward walk turn 1/2 turn, continue to turn left with L leg
straight (with toe almost on floor); then twist R hip back more to put LF down.

Locking on ankles.

For Left Spiral: after forward walk turn, ballet Sous-us, lift leg and body upward, having two straight legs,
LF cross in front RF, locking ankles. Step twist R hip back to step LF forward.

Figure 4 wrapping turning leg:

For Left Spiral: after forward walk turn, continue to turn, L knee bent, L leg wraps around R leg.

For Spiral Turns, turn 1/8 less than the direction one will be traveling, then allowing hip to settle (and
turn more). Use torque (the opposite direction) to stop the turn.

Continuous spinning forward:

Head turn to right, head spotting forward (down line of dance), step RF forward, weight on RF, turn right
with LF closes to RF

After a full turn, RF step forward and turn again.

Arms: wind to left when turning right, while turning, arms close to body.

Apply head spotting.

Turns with different timing:

Divide beat in multiples: se-ven-&-8, se-ven-&-a-8.

Lead and Follow

About partnering:

Appropriate weight: always the minimal amount necessary to do the job.

Lead:

Physical: good physical lead, connection between partners - not tight, heavy, but with tone, connected.
Lady sense it, do not resist, relate to Man's movement. Maintain chosen body design.

Visual: be very aware what partner is doing.

Verbal: not used very much in ballroom and Latin dancing. But there are some auditory cues - sound of
breath, stomping feet on floor - are used slightly, sometimes by advanced dancers.

Follow: Always follow the spine. Relate to what Man does.

Lady could be too early - don't do that. do not go ahead of Man, always commit fully and transfer
weight, solid steps.

Be very aware of partner's transfer of weight. Make conscious choice.

Lady is "echoing" Man. Delay action: seeing, sensing and then doing. This could be mirroring Man's
movement, or doing something different.

Lady needs to keep the rhythm she is put in till she sense the change of timing.

Connection:
Remember opposition: e.g. when Lady steps RF back, her right hand connects to Man's left hand in open
position, do not pull Man back, when RF steps back, the energy in Lady's right hand should be forward to
Man.

Advanced Technique

Delayed Walk

Lady:

Start with LF in front, in responding to Man, quick release L leg to back, straight; keep L leg in a straight
line, delay moving spine back. Move on the very end "&" (in "1&").

Connection: do not push partner. Keep same tone in the connection hands.

Flexible Turns

Direct turns (as discussed in Common Movements): this is basic technique, everything move in one
piece. Switching actions is direct turns.

Flexible turns are more advanced: upper half is going to go first, then the lower half. This helps to create
the sharp look.

Swivel: twist upper body as much as you can, creates torque, delay foot, and then at the very end
(before the beat), very quickly unwind and places the foot.

Forward Walk Turn: similarly, turn upper body first, then whip the hips sharp.

Turns can be sharp even when music is slow.

Examples:

Cha Cha Fan's last "4&1" to Alemana, then flexible turn on Alemana's last "4&1" to detect whether Man
is leading side chasse or forward (lock) steps into Closed Hip Twist.

Hockey Stick "23" turning 1/8.

Body Wave

Key is body isolation and flexibility - moving each part separately and connecting them together
smoothly.

Practice body wave by standing close to a wall with a small gap between wall and body, facing away from
wall. Focus on isolation of each part.
Shoulder going back touch wall (not just shoulder joint, but the whole top shoulder across neck goes
back). It feels like chest is really sticking out

Pull chest back (feels like tummy sticks out)

Pull tummy (feels like hips are forward)

Lastly, pull hip back (like sitting).

Coming out of this in reverse order.

Positions

Closed position

Normal Closed Hold: 6 inches (15cm) apart from partner

No hold, L-to-R hand, or R-to-L hand hold.

Open position (Bronze, Silver & Gold)

Facing and away from partner, about arms length.

L-to-R hand, R-to-R hand, no hold, or double hold.

Fan Position (Bronze, Silver Gold)

Lady at 90 angle to Man on his L side on an imaginary line about 6 inches in front of him.

Man's L hand hold Lady's R hand.

Man feet apart, weight on RF; Lady LF back, weight on LF.

Open Counter Promenade Position

V shape with Lady's R side close to Man's L side. Distance may vary.

L-to-R hold, R-to-L hold, or no hold.

Open Promenade Position

V shape with Lady's L side close to Man's R side. Distance may vary.

L-to-R, or no hold.

Right Side Position

Lady is on Man's R side, both facing same way

Left Side Position

Lady is on Man's L side, both facing same way

Contact position (Silver/Gold)

Facing partner with light body contact and normal hold.

Promenade position (Silver & Gold)

Lady on Man's R side and Man's R and Lady's L side towards each other, slightly apart.

The opposite side of the body turned outwards to form "V".

Normal hold

Right Shadow Position (Gold)

Lady on Man's R side slightly in advance, both facing same direction.

Three different holds:

Hold 1: Man's RH on or below Lady's R shoulder blade, LH holding Lady's LH, wrist or lower arm.

Hold 2: ("Cuddle Hold") Lady's arms across front of her body below chest level with her R arm above her
L arm. Man's R arm is behind lady's back, RH holding her LH and his LH holding her RH.

Hold 3: Man's RH on or below Lady's R shoulder blade, LH holding her RH in front of the bodies just
below chest level. Lady's L arm is held across front of her body, just below or above the joined hands.

Tandem Position (Gold)

Lady directly in front of Man, both facing same way.

Styling

Latin Styling describes Latin dynamics, body design, the use of space, hands, arms and other points on
styling.

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