Quarter 2 Readings

Cha-cha-cha (dance)
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For the American song & line dance, see Cha-Cha Slide.

Cha-cha-cha

Dance competition in Austria

Genre Latin dance

Time signature 4

Year 1953

Origin Cuba

The Sinulog-Santo Niño Festival is an annual cultural and religious festival held on the
third Sunday of January in Cebu City and is the centre of the Santo Niño Catholic
Christian celebrations in the Philippines. In the early 1950s, Enrique Jorrín worked as a
violinist and composer with the charanga group Orquesta América. The group
performed at dance halls in Havana where they played danzón, danzonete, and
danzon-mambo for dance-oriented crowds. Jorrín noticed that many of the dancers at
these gigs had difficulty with the syncopated rhythms of the danzón-mambo. To make
his music more appealing to dancers, Jorrín began composing songs where the melody
was marked strongly on the first downbeat and the rhythm was less syncopated.[4] When
Orquesta América performed these new compositions at the Silver Star Club in Havana,
it was noticed that the dancers had improvised a triple step in their footwork producing
the sound "cha-cha-cha". Thus, the new style came to be known as "cha-cha-chá" and
became associated with a dance where dancers perform a triple step. [5]
The basic footwork pattern of cha-cha-cha (one, two, three, cha-cha-one, two, three) is
also found in several Afro-Cuban dances from the Santería religion. For example, one
of the steps used in the dance practiced by the Orisha ethnicity's Ogun religious
features an identical pattern of footwork. These Afro-Cuban dances predate the
development of cha-cha-cha, and were known by many Cubans in the 1950s, especially
those of African origin.[6] Thus, the footwork of the cha-cha-cha was likely inspired by
these Afro-Cuban dances.[7]
In 1953, Orquesta América released two of Jorrin's compositions, "La Engañadora" and
"Silver Star", on the Cuban record label Panart. These were the first cha-cha-cha
compositions ever recorded. They immediately became hits in Havana, and other
Cuban charanga orchestras quickly imitated this new style. Soon, there was a cha-cha-
cha craze in Havana's dance halls, popularizing both the music and the associated
dance. This craze soon spread to Mexico City, and by 1955 the music and dance of the
cha-cha-cha had become popular in Latin America, the United States, and Western
Europe, following in the footsteps of the mambo, which had been a worldwide craze a
few years earlier.[8]

Description[edit]
Cha-cha-cha is danced to authentic Cuban music, although in ballroom competitions it
is often danced to Latin pop or Latin rock. The music for the international ballroom cha-
cha-cha is energetic and with a steady beat. The music may involve
complex polyrhythms.
Styles of cha-cha-cha dance may differ in the place of the chasse in the rhythmical
structure.[9] The original Cuban and the ballroom cha-cha-cha count is "one, two, three,
cha-cha", or "one, two, three, four-and." [10] A "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 similar timing
shift of Mambo.
Pattern[edit]
In the International School of Ballroom Dance, the basic pattern involves the lead
(usually the man) taking a checked forward step with the left foot, retaining some
weight on the right foot. The knee of the right leg must stay bent and close to the back
of the left knee, the left leg having straightened just prior to receiving part weight. This
step is taken on the second beat of the bar. Full weight is returned to the right leg on the
second step (beat three).
The fourth beat is split in two so the count of the next three steps is 4-and-1. These
three steps constitute the cha-cha chasse. A step to the side is taken with the left foot,
the right foot is half closed towards the left foot (typically leaving both feet under the
hips or perhaps closed together), and finally there is a last step to the left with the left
foot. The length of the steps in the chasse depends very much on the effect the dancer
is attempting to make.[10]
The partner takes a step back on the right foot, the knee being straightened as full
weight is taken. The other leg is allowed to remain straight. It is possible it will shoot
slightly but no deliberate flexing of the free leg is attempted. This is quite different from
technique associated with salsa, for instance. On the next beat (beat three) weight is
returned to the left leg. Then a chasse is danced RLR.
Each partner is now in a position to dance the bar their partner just danced. Hence the
fundamental construction of cha-cha-cha extends over two bars.
The checked first step is a later development in the "international cha-cha-cha" style.
Because of the action used during the forward step (the one taking only part weight) the
basic pattern turns left, whereas in earlier times cha-cha-cha was danced without
rotation of the alignment. Hip actions are allowed to occur at the end of every step. For
steps taking a single beat the first half of the beat constitutes the foot movement and the
second half is taken up by the hip movement. The hip sway eliminates any increase in
height as the feet are brought towards each other. In general, steps in all directions
should be taken first with the ball of the foot in contact with the floor, and then with the
heel lowering when the weight is fully transferred; however, some steps require that the
heel remain lifted from the floor. When weight is released from a foot, the heel should
release from the floor first, allowing the toe to maintain contact with the floor.
In the American School of Ballroom Dance, the basic step spans two measures of
music (frequently counted "one, two, three, four-and, five, six, seven, eight-and" with
"five" marking the beginning of the second measure. The leader steps sideways to the
left on count 1, back onto the right foot on count 2, forward with the left foot on count 3,
then a cha-cha consisting of a step sideways to the right on count 4 followed by a step
in place on the left foot on "and" between count four and count 5 to permit another step
sideways to the right on count 5 (or count 1 of the second measure), a step forward with
the left foot on count 6, a step backward with the right foot on count 7, and a cha-cha to
the left on the "eight-and" to set up another step sideways to the left to begin the next
repetition of the pattern.
Hip movement[edit]
A couple dancing cha-cha-cha. The woman moves her hips while holding the torso relatively still.

The Sinulog-Santo Niño Festival is an annual cultural and religious festival held on the
third Sunday of January in Cebu City and is the centre of the Santo Niño Catholic
Christian celebrations in the Philippines. TOPIC: HIP-HOP/STREET DANCE
Brief History Hip-hop dance includes a wide range of “street dance” styles that are associated with the
hip-hop culture, which started in New York City in the mid 70’s. Traditionally, the original dance of
hiphop was breaking. This term was first used to describe an innovative turntable technique- the
extended break, performed by Jamaican-born Kool DJ Herc in New York’s South Bronx in 1973. Inorder
to stretch the song’s drum break, he played the break portion of two identical records consecutively.

The popularity of the extended breaklent its name to break dancing – a style specific to hiphop culture.
The old school hip-hop styles were a result of improvisational steps and moves from the streets and
clubs that emerged in the USA in the 1970’s It involved locking, popping, and breakdancing or b-boying
to fast beats.

HIP-HOP/ STREET DANCE VARIATIONS

1. LOCKING – Involves freezing from a fast movement and “locking” in a certain position, holding that
position for a short while and then continuing in the same speed as before. Arm and hand movements
are fast and distinct combined with more relaxed hips and legs. The movements are generally large and
exaggerated, and often very rhythmicand tightly synced with the music.

2. POPPING – Involves continuous contraction of the muscles to the beat (like a force of energy going
through the body causing it to move like a wave) to give a jerky/snapping effect – a bouncy style.

3. BREAKING OR B-BOYING (commonly called breakdancing) consists of four basic elements: toprock,
downrock,freeze and power moves.
Toprock refers to the upright dancing and shuffles while downrock refers to footwork dancing
performed on the floor.

Freeze refers to the poses that breakers throw into their dance sets to add punctuationto certain beats
and end their routines.

Power moves are impressive acrobatic moves normally made up of circular motions where the dancer
will spin on the floor or in the air. Rap or spontaneous rhymes are spoken over hip-hop music.
Influenced by the African oral tradition; it functions as the voice of young, urban, working-class African-
Americans who are an underrepresented group. Used by emcees when introducing popular African-
American disc jockeys (DJs), rhymes lapped over from the transition period between the end of one
song and the introduction of the next to the songs themselves. These rhymes were commentaries of a
DJ’s skills/and or their personal stories and experiences. This innovation caught the attention of hip-hop
fans.

Waacking (also whacking, posing or punking) is a form of street dance created in the LGBT clubs of Los

Angeles[1][2] during the 1970s disco era.[3] The style is typically done to 70s disco music [4] and is mainly
distinguishable by its rotational arm movements, posing and emphasis on expressiveness.

Tutting - A hip hop dance style that emphasizes the body's ability to create geometric shapes (such as
boxes) and movements; predominantly with the use of 90 degree angles.

Vogue, or voguing, is a highly stylized, modern house dance originating in the late 1980s that evolved
out of the Harlem ballroom scene of the 1960s.

TOPIC: MODERN JAZZ

Modern Jazz - A dance style that combines ballet techniques with elements of African
and Contemporary dance.
Jack Cole -The Father of Theatrical Jazz Dance is _____________.
Jazz Walk - A fashionable type of dance walking that incorporates a tiptoeing stride to
transform the walk into a cat swagger.
Ball Change - Involves shifting the dancer’s weight from one foot to the next using the
balls of the feet.

Influential Jazz Dancers

Many famous dancers have helped shape what we know as jazz dance today. Considered the father of
theatrical jazz dance, Jack Cole developed techniques that are used today in musicals, films, television
commercials, and videos. His style emphasized isolations, rapid directional changes, angled placement,
and long knee slides.

A winner of eight Tony awards, Bob Fosse was a musical theater choreographer and director and a film
director. Characteristics of his dance style are inward knees, rounded shoulders, and full-body isolations.

Considered a founder of jazz dance, Gus Giordano was a master teacher and gifted choreographer. His
dance style has influenced modern jazz dancing. Many jazz teachers employ his methods in their classes.
Ball change: A ball change uses the balls of the feet to shift the dancer’s weight from one foot to the
next. Like the pas de bourrée, you can use a ball change to transition between dance moves. Dancers
transfer their weight to the ball of one foot, and then step forward with the other foot.

 Pirouette: A pirouette is when a dancer turns on one foot. While one leg remains planted on the
ground, the other leg spins, turning the dancer’s body.

Jazz walk: Jazz walks are a stylish form of dance walking that use a tiptoeing step to turn the walk into a
cat strut. Jazz walks are ways to transition from one movement to the next, or you can use them as a
statement dance move on their own.

Jazz square: The jazz square is a versatile and foundational step in jazz dance. This movement involves
four steps that form the shape of a square on the dance floor. You can do jazz squares rapidly or slowly
depending on how the dancer wants to exaggerate and shape the movement.

Topic: Festival Dance

Festival dances are cultural dances performed to the beats of instruments, usually percussion, by a
community sharing the same culture. These are usually done in honor of a Patron Saint or in the
thanksgiving of a bountiful harvest.

The Ati-Atihan festival is a Philippine festival held annually in January in honor of the Santo Niño (Holy
Child or Infant Jesus) in several towns of the province of Aklan, Panay Island. The biggest celebration is
held during the third Sunday of January in the town of Kalibo, the province's capital.

Masskara Festival - This annual festival, which is similar to Brazil’s Rio Carnival, literally translates to
“many faces,” and is celebrated every October in Bacolod. Because of the smiling faces of the mask,
Bacolod City got the nickname of The City of Smiles. 

The Pahiyas Festival is a festival of thankfulness after a bountiful harvest. 'Pahiyas' literally means
“precious offering,” and the practice dates back to the 16th century. People celebrate it in honor of San
Isidro Labrador, the farmer's patron saint.

The Higantes Festival is a local festival held annually In Angono, Rizal, Philippines, where hundreds of
giant papier-mâché puppets are paraded, representing the common people's mockery of the bad
hacienda owners of the past during Spanish colonial rule.

Panagbenga is an annual flower festival celebrated every February which takes place in Baguio City,
Philippines. The term “Panagbenga” comes from a Kankanaey term meaning “season of blooming”. This
festival reflects the history, traditions and values of Baguio and the Cordilleras.

The Kadayawan Festival is an annual festival in the city of Davao in the Philippines. The festival is a
celebration of life, a thanksgiving for the gifts of nature, the wealth of culture, the bounties of harvest
and serenity of living.

The Butterfly Festival is the official festival of the city of Dasmariñas celebrated annually on November

26. It is called the Butterfly Festival because it symbolizes the progressive transformation of the city
from being a small barrio of the city of Imus to being a full-fledged city in Kabite in the life that
a caterpillar faces before becoming a full-fledged butterfly .
The festival showcases the creativity of the Dasmarineños through a grand parade where participants
pose as butterflies with colorful floats. Citizens from different barangays of Dasmariñas also gather to
participate in various performances and contests.

The Moriones is a lenten festival held annually on Holy Week on the island of Marinduque, Philippines.
The "Moriones" are men and women in costumes and masks replicating the garb of biblical Imperial
Roman soldiers as interpreted by locals. The Moriones tradition has inspired the creation of other
festivals in the Philippines where cultural practices is turned into street festivals

Aliwan Fiesta is an annual event that gathers different cultural festivals of the Philippines in Star City
Complex in Pasay wherein contingents compete in dance parade and float competitions. Organized
by Manila Broadcasting Company (MBC) together with Cultural Center of the Philippines (CCP) and the
cities of Manila and Pasay, the event is dubbed as "the Philippines' Grandest Fiesta," with prizes
totaling P3 million (roughly US$70,000). Aliwan Fiesta, which began in 2003, aims to showcase the
different Filipino cultures and heritage not only to the people in Metro Manila but also to the rest of the
world.[1] The contingents, meanwhile, aim to promote their respective regions both economically
and tourism-wise.[2] It was originally organized as a visual extravaganza for the Christmas season, but it
has since been held during the summer months of either April or May. [3] Aliwan is a Tagalog word for
"entertainment" or "amusement." Aliwan Fiesta festivities are covered live on DZRH News
Television annually.

The Bangus Festival is a ten-day celebration taking place in Dagupan City every April. The festivities
include an array of sports competitions, fairs, and street parties. And of course, the festival is full of
culinary demonstrations, tastings, and contests.

The Dinagyang Festival is a religious and cultural festival in Iloilo City, Philippines, held annually on the

4th Sunday of January, or right after the Sinulog in Cebu and the Ati-Atihan Festival in Kalibo, Aklan. It is
one of the biggest festivals in the Philippines, attracting more than a million domestic and international
visitors every year.

The Sinulog-Santo Niño Festival is an annual cultural and religious festival held on the third Sunday of
January in Cebu City and is the centre of the Santo Niño Catholic Christian celebrations in the
Philippines.