Cha cha cha 4 beats/measure; 26 - 34 meas/min Along with Rumba and Mambo, Cha developed in aiti and in Cuba and migrated to the !nited "tates in the #$%&s' (hese rh)thms are *losel) related + we *an thin, o- Mambo as a -ast Rumba and Cha as a triple Mambo' (hese three rh)thms have man) -igures in *ommon'Cha is dan*ed with a loose hold and with sharper, more sta**ato movements than in Rumba' (he tempo o- Cha is about the same as that o- Rumba, but we are -itting -ive steps into a measure instead o- onl) three in Rumba, so Cha -eels a good bit -aster, too' .here Rumba is dan*ed /ui*,, /ui*,, slow; Cha is dan*ed /ui*,, /ui*,, /ui*,/and, /ui*,; or #, 2, *ha/*ha, *ha;0n 1atin musi*, )ou *an hear the 2*ha-*ha-*ha'2 (hat is, )ou *an hear some instrument being pla)ed on the 2and2 *ount 3in other rh)thms, the 2and2 *an 4ust be silen*e between two sounds5'Most Cha steps are ta,en ball--lat, although the /ui*,est steps might be ta,en ball onl)' "tep with the le-t, press into that step without weight, straighten the le-t ,nee and roll )our weight onto the le-t leg, and bend the right ,nee' (his will move the le-t hip to the side and ba*,' More spe*i-i*all), step -oreward with a ball/-lat/straighten/hip, and ba*, ball/-lat/straighten/hip to get a rh)thmi* and rolling Cuban or 1atin hip a*tion' !se the inside edge o- the ball o- )our -oot and big toe, and this will move the non-supporting ,nee in -ront o- the supporting ,nee and add even more to the Cuban hip, but don6t e7agerate' 8on6t 2wiggle )our hips'2 (he hip movement is not independent but *omes -rom the -eet and ,nees' (he whole bod) is -lowing with the musi*'Round dan*ers dan*e almost all o- their Chas beginning on beat # o- the measure, the strong downbeat + #2394 + but ballroom dan*ers 3and a -ew round dan*es, su*h as Wheels Cha b) :im 9 ;onnie ;ahr5 begin on beat 2 + 2349#' 0n round dan*ing, we *all this 49# Cha, todistinguish it -rom the more *ommon 394 Cha' 0- )ou6d li,e to tr) 49#, an) round-dan*e Cha *an be dan*ed that wa)' :ust hold the -irst beat, step on beat 2, and *ontinue to the *ues' ou end up dan*ing )our 2*ha-*ha-*ha2 where the musi* sa)s 2bum-ba-bum'2 Another advantage is that 49# timing lets )ou put the last 2hip2 + o- a al- ;asi*, -or instan*e + prominentl) on the downbeat' >ou would dan*e? 2349#/hip', (his might -eel good to the musi*, reall) 1atin, sensual' 0 don6t ,now' (r) it' 1et 2the musi* tell )ou what to do'2 Figure Name,Roundalab Phase Level, & TimingSteps and Actions That Mae !p the Figure@a*h des*ription -o*uses on the man, with the woman6s -ootwor, in parenthesis' 0- a woman6s step"ere are some se#uences to help $ou visuali%e the &igure in conte't(/A/ui*,, # beatsAslow, 2 beats9 A#/2 beat; aA#/4 beatis not given, it is the natural opposite or -ollow o- the man6s' elp? basi* dan*e positions and steps, a*tions, dire*tions, and abbreviations' Bon-standard pun*tuation? a *omma separates two beatso- musi*, a semi-*olon mar,s the end o- a measure,and a slash 3/5 indi*ates a split beat, two things o**urring in a single beat';asi* 3or Closed ;asi*5 phase 000#2394; #2394;0n *losed position, step -orward 1 3woman ba*, R5, re*over, side/*lose, side; ba*, R 3. -wd 15, re*over, side/*lose, side; 8on6t ta,e big steps' or,er phase 000#2394;0n butter-l) position, both swivel on the trail -oot to le-t open position and step through to R1or,er' 8on6t let )oursel- -low -reel) -rom the ;a*, ;asi* into the Kui*, Bew >or,er, but pause brie-l)' Cat*h or stop )our partner' Can*el whatever -low or momentum has built up' Bow, with small and *ontrolled movements, step through' "ti*, that step and ,eep )our bod) weight ba*,' Re*over'"mall step side' >ou6re under *ontrol' (urnand step through the other wa)' 0t will -eel mu*h better than lunging one wa) and desperatel) lur*hing the other'or,er#2394;0n R/R handsha,e position, both swivel onthe trail -oot to le-t shadow position and step through to R1