Polished, since we are discussing the differences in the descriptions as written in the technique books currently used for examinations by the different associations it makes no difference at all if we google/youtube for Slavik's interpretation or the new Batman movie. We are discussing the current technique and possible reasons behind the differences.

Maybe in 5 years we will be discussing the effect Slavik had on a later revision of the manual or we may be discussing a future top dancer's explanation of how Slavik got it wrong.

Interested, There is no reason why Wheels should not be used for a cha cha, but I would argue that it should be danced on 1 for correct musical interpretation. It is an example I sometimes use of some teachers slavish adherence to rules which they do not fully understand or appreciate. I have seen many examples of this and similar tunes being danced so that the chasse matches the split beat in the rhythm (123&4) while a teacher with little or no musical training shouts over the top 234&1.

SocialDancer. You can add the word all to the list of competitors who dance the Chasse in the Cha in the way described by Corkey Ballas and danced by Slavic and Karina. You will not find one who does not use that technique including the couple on this web - site. Which means the technique book needs a suppliment, and you should try to keep up to date with what is going on in the world of ballroom dancing..

As has been mentioned elsewhere, there is indeed a whole world of ballroom dancing, and in that world, top class competitors would barely fill a small town.

We are discussing the technique as currently published by the associations and as required for their professional exams, which IIRC is what Interested is preparing for. As and when the books are updated then some of the things seen in competition may be included. The top competitors can, and do, deviate from standard technique but they know how and why they are doing it because they have a good understanding of the basic theory. Very often these deviations are used by less experienced, lower level competitors and can look truly awful, sometimes prompting comment from senior adjudicators.

Top competitors very rarely dance a basic chasse in chacha. Almost all the variations they use instead require the use of ball-flat, ball, ball-flat footwork so it is no surprise that they find it strange to use the standardised footwork for a chasse. In the Innovation video, Karina acknowledges the standard footwork and explains they use different footwork in competition so that they can play with the timing and dynamics of the figures. That does not mean it is appropriate for everybody.

Finally, I do keep up with what is happening in dancing at all levels not just competitive, using all the facilities available to me including books, videos and congress lectures. It was interesting to note that my method of counting chacha, 1 2 3 cha cha, was presented at a popular teacher traing session in Italy last year. I'm not suggesting that they copied one of my lectures but I like to think we both developed the same idea from basic principles.

Counting 123..4 and 1 is the way that Amer. style has been perpetuated thru chain schools .

The Intern. style of 1,2,3,4 AND 1 places a different emphasis on the rhythm.

Social Dancer. Thinking about it, I now "hear" that split beat on 3 and 4. I am guilty of getting this wrong, and it always felt odd. I can now see why.


What this means is that sequence dancers actually get it right sometimes ?

Response to Polished's comments above re changing technique.


It is somewhat disconcerting that technique can change so universally without any move to restandardise. What is the problem ? Maybe no-one is that convinced they have found a better way yet ? Or maybe today's generation have a disinclination to the very notion of standardisation.

SocialDancer. Going to the first movement in the International Style of Cha Cha on this site which can be found by going to Learn the Dances. Exactly which part in the counting do you disagree with.
I can see that beat one at the beginning is first, but you can't possibly be saying that you have come to the end of your Chasse on an (and )count. There would have to be a 1 which is another step and is the beginning of the next bar of music..
Donnie Burns alway started his Cha with the RF behind the LF and on his tape did a Lockstep ( Latin Cross ) 4 and 1 into the Basic on 2..

See the other cha cha chasse thread for more detail, but I am not disagreeing with the count, only with the way it is presented to the student and the effect that has on the rhythmic interpretation.

Playing with the timing. In a technique class conducted by a former 7th in the world. This is done as a solo excercise. We do a group which finishes feet apart on the count of 2 3 4 and 1. The right foot is the next to move but we let the beat two go by and move it into a Chasse on ( and ) 3 with a Cuban Break on 4 and 1. The teacher likes to work both sides of the brain so we get to a position where we do the above in the opposite direction. They whole routine takes 5 bars of music and is done without a break for the whole disk. Then we bring in the arm movements. Which brings me to Google. " Jaana Kunitz Latin Arm Styling ". You wont be disapointed.

The delaying of the step from beat 2 to the following 'a' is known as Guapacha timing (pronounced Whappacha) and is acceptable in medals test of Silver and above.

It can be applied to many figures. I find it spices up a turkish towel.