Latin Technique

Latin dancing differs from smooth dancing in several notable ways. "Smooth" dancing has that name because it is expected to move around the floor with a fluidity of movement and few sudden stops. Latin figures are danced more in place and are designed to emphasize the beat of the music, which leads to greater body expression.

In Latin dancing, steps are taken on the ball of the foot (or ball flat). No heel leads (except in paso doble) and no "flight" as in smooth dances.

The hips move as part of the upper body in smooth dances; in Latin dancing, the rib cage and hips can move independently.

Here, we will focus on rumba and cha cha as the most basic of the Latin rhythms and because of the similarities between the rhythms in body position, hold, footwork, and figures.

I. CHARACTER

Every rhythm has its own characteristic way of moving, and in Latin dances, that way of moving becomes a story. Knowing the "story" behind a rhythm will give you a clue about the technique and styling needed to dance that rhythm.

Rumba is called the "dance of love" because its movements are like an intimate discussion between lovers, with sensual body action. Its sister rhythm, the bolero, is called the "other dance of love" and differs from rumba in that it has rise and fall, less hip action, and its figures are more expansive and dramatic -- more like yelling your feelings from the rooftop.

The cha cha is meant to be flirty and gay. Its sister rhythm, the mambo, is cha with a step and hold, instead of the ending triple step, done with attitude, as a challenge to the band or to your partner.

II. HISTORY

Rumba and cha cha have their roots in Africa, Spain, and the Caribbean. During the Prohibition Era, Cuba, with its beaches, tropical weather, and rum and cigar factories, became a tourist mecca for Americans as well as Europeans. The dances seen there were unlike anything being done in North America or on the European continent, and tourists took them back to their home countries. Rumba made its way to America in the 1930s. The name is believed to have come from the Spanish word "rumbear," meaning "to party."

The cha cha grew out of the mambo and was first standardized in ballroom manuals in the early 1950s. Some people claim that the name "cha cha" (originally "cha cha cha") came from the sound of shoes shuffling in the triple steps. Others say it came from the name of the musical instrument used in the Caribbean, called the cha cha, made with seed pods called tcha-tcha or kaw-kaw.

In America, both dances were made a part of the "rhythm" syllabus of the American style of dance. In England, they were adopted into the "Latin" syllabus of the International style of dance. The American rumba is faster than the International version with less emphasis on straight legs. The cha cha is much the same in both disciplines. The names of some figures are different between the two styles, such as "cross-over-break" in American style, which is the equivalent of "New Yorker" in International style and in round dancing.

III. RHYTHMIC INTERPRETATION

Both rumba and cha cha are danced to music with 4/4 timing (four beats per measure). The instruments used and the style and speed of the music dictate whether it is rumba or some other rhythm using music with the same timing. Rumba is played from 27 measures per minute (preferred for International) to 32 m/m (American style). This compares to bolero at 22 to 26 m/m and foxtrot at 28 to 30 m/m.

In rumba, the dancer takes three steps in the four beats of each measure. Basic timing is Quick Quick Slow. In round dancing, the first step is taken on the first beat of a measure of music, the second step on the second beat, and the third step on the third beat, and the hips "settle" on the fourth beat with no step taken. 1,2,3, hold 4. In International ballroom dancing, the first step is taken on the second beat of music so that you are dancing: 2,3,4, hold 1).

The music of cha cha is faster (30 to 34 measures per minute). Five steps are taken in the four beats of a measure. Basic timing is 123&4. To get five steps into four beats, the beat values of a measure of music, expressed in different ways are:

Steps or Weight Changes	Step 1	Step 2	Step 3	Step 4	Step 5
Count or Beat	1	2	3	&	4
Duration	1 beat	1 beat	1/2 beat	1/2 beat	1 beat

Advanced cha cha will often include a short section done with guapacha (WAH-pah-cha) timing. This has a hesitation followed by a very quick step on a quarter beat: hold (3/4 of beat 1) a (1/4 of beat 1--first step here), 2,3&,4. This variation should be used for special effect only, as the music dictates.

IV. TECHNIQUE

Technique is the way you execute a step. If you learn how to do a step comfortably and smoothly, that technique probably is correct (although there may be a more correct way that is even more smooth). Style is how you look when you execute a step.

Hold & Position
Always stand up straight with good posture, with the head, shoulders, torso, and hips in balance over the ball of the standing foot. Do not "reach" for your partner by bending at the waist.All of the standard Latin positions are used in rumba and cha cha: loose closed, open facing, fan, butterfly, side by side, tandem, shadow. ICBDA members can see our Technical Dance Manual for details about positions.

Forearms of joined hands should be held parallel to the floor in open facing position. A common error is holding joined hands too high; the lead then is ineffective because it only connects at the lady's shoulders instead of at her base (her hips). When hands are joined, there should be a slight pressure toward each other. This connection allows each partner to feel movement originating in the other's body and to respond. Don't clutch your partner's hand; no one is trying to get away.

Leads in Latins are felt through Man's weight changes through the arm connection, Man's shaping, or even without any hold simply by visual contact. Look at each other.

Movement
Rumba and cha cha figures rarely use heel leads or "rise and fall" as all forward steps are taken onto the ball of the foot, and backward steps begin on the toe. Don't place one foot in front of the other like walking a tightrope.

Each step should only be long enough to allow you to move comfortably. In rumba, shorter steps allow more hip movement. In cha cha, shorter steps help you keep up with the faster music and greater number of steps. A slight toeing out of the feet will make for better balance and control. Try not to bounce (that's for jive and samba); keep the upper body still by isolating muscles to move from the rib cage down.

When doing a rumba basic (QQS), the first step forward or back for the man is a placing of the foot without full weight on it. This allows for better balance and more responsive lead and follow.

Hip Action
In rumba, the end of each measure usually is punctuated by a "settling" of the body through the hip. This is not "throwing" your hips from side to side; Cuban motion occurs naturally and correctly through the controlled transfer of body weight from foot to foot. Every step begins with a flexed knee, which straightens just before it hits the floor. As weight is taken fully onto the step, the hips move naturally in the direction of the leg receiving the weight. The pelvis will move gently to the side and then rotate backward. An exception would be cucarachas or side rocks, where the hips move laterally with minimal rotation.

Hand and Arm Positions
Hand and arm action is a dancer's personal interpretation of the music. Men's arms should look strong. Ladies' arms caress and make seductive sweeps. The actions should look and feel natural, as an extension of body movement. Some basic rules:
1. The arm will "unroll" from the shoulder instead of being flung to the side all at once. The elbow will project out, then the forearm unfolds, then the wrist, and then the fingertips.
2. Arms are never "thrown" back behind the shoulder.
3. Hands finish a line as a natural extension of the arm. Fingers form a "C" shape, with thumb on the bottom of the curve and fingers on the top, like doing shadow puppets. No limp wrists for either partner.

Hands and arms are important to the telling of the story of the dance. Have you ever watched a dance exhibition where the couple does a nice Latin dance, maybe even technically perfect, but after a short time, you aren't paying attention anymore? This is because they have "no story." Even when you dance for your own pleasure, you will get more out of a Latin dance if you can "experience" it.

Turns
A turn in rumba is done on the ball of a foot after you have stepped onto it and have all of your weight on it. Think of a spot turn as three forward steps; both partners step through and then turn over the new standing foot, then step forward turning over the foot to face partner, and then side with a small step.

Spirals
A spiral is a turn over the foot you are standing on, in the opposite direction of that foot (i.e. if you are standing on your left foot, the spiral turns right-face). You must be in balance over the standing foot to do a spiral.

Hip Twists
The hip twist family includes the basic open hip twist, its equivalent starting in closed position (the closed hip twist), and the more exotic advanced hip twist, continuous hip twist, and circular hip twist. A hip twist for the lady is any sharp swivel over the foot she is standing on, toward that foot. The open hip twist ends with the lady's turn to the right over the right foot. A turn to the left while standing on the right foot would be a spiral.

Alemana vs. Underarm Turn
To learn the alemana, you may have been told to do a half basic to an underarm turn. That gets the job done (just as you could do the figure called "three alemanas" by doing an underarm turn, reverse underarm turn, and another underarm turn), but this description is just a less elegant approximation. An alemana turn is not circular but traces a triangle on the floor. To begin the figure, the man dances forward L (Q), replace R (Q), and closes L (S), raising lead hands above the lady's right shoulder to direct her to start turning right-face on her third step (S). The man then dances back, recover, close, and the lady dances straight forward L toward DLC (one side of the triangle), forward R to wall, and then forward L toward partner.

If you do not want to end in closed position for the next figure, the man must lead early. On step 6 of the figure, he can lead a side step into a New Yorker, or he can raise lead hands to lead the lady into a spiral for a rope spin, or he can lower the joined hands to lead the lady to over turn into shadow position.

Progressive Walks
You can improve your overall rumba by practicing progressive walks--forward steps on two tracks (they can also move backward) done in groups of three (QQS). Begin from standing on a straight leg, with a straight free leg extended back. Allow the knee of the free leg to bend and place the foot in front of the body, toes pointed out, and move onto a straight leg. Most rumba steps are based on this action. (In rumba, there are also kiki walks--forward walks putting one foot in front of the other--and crab walks--side steps, crossing one foot over the other while facing partner.)

Most rumba figures can be done in cha cha by repacing the rumba's slow side step (beats 3 and 4) with the cha chasse (3&4).

Cha Cha Chasse (Triple)
These three steps are danced as 3&4 of the cha cha basic, or they can be danced alone (1&2 or in pairs (1&2 3&4) or in triples as part of the triple cha forward (or back) (12 3&4 5&6 7&8). They can move sideways, forward, or back, starting with either foot. When they go forward or backward, they may be called locking chas, but the "lock" is more of a loose crossing behind than the tight lock we see in two step and other rhythms.

From clinic notes prepared for the URDC (now ICBDA) Convention, 2007, and reprinted in the Dixie Round Dance Council (DRDC) Newsletter, October 2025 and again December 2025. Find a DRDC Finch archive here.

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Alphabetical Index to
Figures and Technique