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The original Cuban and the ballroom cha-cha-cha count is "one, two, three, cha-cha", or "one, two, three, four-and." [10] An incorrect "street version" comes about because many social dancers count "one, two, cha-cha-cha" and thus shift the timing of the dance by a full beat of music. Note that the dance known as Salsa is the result of a ...
The novel cha-cha-chá style was born from melodies that were very easy to dance. [2]: 130–132 Since its inception, cha-cha-chá music has had a close relationship with the dancer's steps. The name cha-cha-chá came into being with the help of the dancers at the Silver Star Club in Havana. When the dance was coupled to the rhythm of the music ...
Enrique Jorrín (December 25, 1926 – December 12, 1987) was a Cuban charanga violinist, composer and music director. He is considered the inventor of the cha-cha-chá, a popular style of ballroom music derived from danzón. [1]
Cha Cha (sometimes wrongly called Cha Cha Cha based on a "street version" of the dance with shifted timing) was developed by Enrique Jorrín in the early 1950s, as a slower alternative to Mambo—and, in fact, was originally called Triple Mambo. The Cha Cha is a flirtatious dance with many hip rotations and partners synchronising their movements.
Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, but also conga and rumba. Although taking its name from the latter, ballroom rumba differs completely from ...
“Commercial dance is very different to ballroom dance and latin, I’m still having to strip down and relearn, even walking in cha cha step is weird to me – you have to turn out your feet and ...
Styles of cha-cha-cha dance may differ in the place of the chasse in the rhythmical structure. [10] The original Cuban and the ballroom cha-cha-cha count is "two, three, chachacha" or "four-and-one, two, three". The dance does not start on the first beat of a bar, though it can start with a transfer of weight to the lead's right. [11]
Cha-cha-cha had eclipsed both mambo and danzón as the most popular dance style in Cuba. Jorrín claimed to be responsible for the success of Orquesta América and was uncomfortable with the band's credits, which always stated "Orquesta América de Ninón Mondéjar".