The modern style of dancing the cha-cha-chá derives from studies made by dance teacher Pierre Zurcher-Margolle ('Monsieur Pierre'), who partnered Doris Lavelle. Pierre, then from London, visited Cuba in 1952 to find out how and what Cubans were dancing at the time. He noted that this new dance had a split 4th beat, and to dance it one started on the second beat, not the first. He brought this dance idea to England and eventually created what is known now as ballroom cha-cha-cha. The validity of his analysis is well established for that time, and some forms of evidence exist today. First, there is in existence film of Orquesta Jorrin playing to a cha-cha-cha dance contest in Cuba; second, the rhythm of the Benny More classic Santa Isabel de las Lajas written and recorded at about the same time is quite clearly syncopated on the fourth beat. Also, note that the slower bolero-son ("rumba") was always danced on the second beat.
Cha-cha-cha may be either danced to authentic Cuban music, or Latin Pop or Latin Rock. The music for the international ballroom cha-cha-cha is energetic and with a steady beat. The Cuban cha-cha-chá is more sensual and may involve complex polyrhythms.
Styles of cha-cha-cha dance may differ in the place of the chasse in the rhythmical structure. The original Cuban and the ballroom cha-cha-cha count "two-three-chachacha".
The basic pattern involves the lead (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 straight 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-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 depend very much on the effect the dancer is attempting to make.
The girl 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 flex 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 cha-cha-cha 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. 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.
Over the history of the dance, there have been two schools of dancing the Cha-cha-cha chasse. In one school, both knees are allowed to be flexed on the count of 'and' to eliminate an increase in height as the feet are brought towards each other. In the other school the leading foot is placed with the checked knee and the "bopping" is eliminated by hip action.
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 traditional American Rhythm style, Latin hip movement is achieved through the alternate bending and straightening action of the knees, though in modern competitive dancing, the technique is virtually identical to the International Latin style. In the International Latin style, the weighted leg is almost always straight. The free leg will bend, allowing the hips to naturally settle into the direction of the weighted leg. As a step is taken, a free leg will straighten the instant before it receives weight. It should then remain straight until it is completely free of weight again.
Cha-cha-cha is one of the five dances of the "Latin American" program of international ballroom competitions.
As described above, the basis of the modern dance was laid down in the 1950s by Pierre & Lavelle[10] and developed in the 1960s by Walter Laird and other top competitors of the time. The basic steps taught to learners today are based on these accounts.
In general, steps are kept compact and the dance is danced generally without any rise and fall. The modern ballroom technique of Cha-cha-cha (and other ballroom dances) does undergo gradual evolution, particularly in competition dancing, but in essence is still firmly based on its Cuban origin in the 1950s.
Sway
The Pussycat Dolls Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dance with me, make me sway
Like a lazy ocean hugs the shore
Hold me close, sway me more
Like a flower bending in the breeze
Bend with me, sway with ease
When we dance you have a way with me
Stay with me, sway with me
Other dancers may be on the floor
Dear, but my eyes will see only you
Only you have that magic technique
When we sway I go weak
I can hear the sounds of violins
Long before it begins
Make me thrill as only you know how
Sway me smooth, sway me now
Sway me, take me
Thrill me, hold me
Bend me, ease me
You have a way with me
Sway with me
Sway (sway) (Sway)
Other dancers may be on the floor
Dear, but my eyes will see only you
Only you have that magic technique
When we sway I go weak
I go weak
I can hear the sounds of violins
Long before it begins
Make me thrill as only you know how
Sway me smooth, sway me now
Make me thrill as only you know how
Sway me smooth, sway me now
Make me thrill as only you know how
Sway me smooth, sway me now
Sway me
Sway me
Sway me now
The lyrics to The Pussycat Dolls' song Sway evoke a sense of yearning and desire for an intimate connection through dance. The opening lines suggest the intensity of the song's theme with "when marimba rhythms start to play" and invites the listener to "dance with me, make me sway." There's a sense of comfort that comes with getting lost in the movements of dance, and the line "like a lazy ocean hugs the shore, hold me close, sway me more" speaks to the longing for that feeling of security.
The second verse takes the theme even deeper, describing the sensation of being "bent with me" as if they are a "flower bending in the breeze" and that "when we dance, you have a way with me, stay with me, sway with me." The lyrics are sensual, and it evokes images of two people lost in the moment and fully connected to each other. The chorus iterates the theme, where the intimacy between the two is so distinct that they are oblivious to all other dancers on the floor.
The third and final verse describes the anticipation that arises even as "the sounds of violins" start playing, and the line "when we sway, I go weak" speaks to the profound impact that the experience has on the person singing this song. The song ends with the chorus, where the lyrics plead for the other person to sway her smooth, and the repetition of the line "sway me now" underscores the urgency of the moment.
Line by Line Meaning
When marimba rhythms start to play
As the music begins with the beat of the marimba…
Dance with me, make me sway
Move with me, compel me to move with the rhythm…
Like a lazy ocean hugs the shore
Enfold me in your arms, like the sea embraces the land…
Hold me close, sway me more
Embrace me, push me to be moved by the rhythm even more…
Like a flower bending in the breeze
Bend and flow with me like a flower does when caressed by the breeze…
Bend with me, sway with ease
Sway effortlessly and naturally as we move together…
When we dance you have a way with me
Your dance skills and connection with me are exceptional…
Stay with me, sway with me
Stay close to me and sway in sync with me…
Other dancers may be on the floor
There may be others dancing around us…
Dear, but my eyes will see only you
But my focus and attention are only on you…
Only you have that magic technique
Your dance technique is unique and magical…
When we sway I go weak
I am so moved by our dance that I become weak…
I can hear the sounds of violins
The sounds of violins transport me to another world…
Long before it begins
I am already lost in the music even before we begin to dance…
Make me thrill as only you know how
Thrill me with the rhythm in the way that only you can…
Sway me smooth, sway me now
Move and rock me smoothly without delay…
Sway me, take me
Move and captivate me…
Thrill me, hold me
Excite me and embrace me…
Bend me, ease me
Bend and flow with me smoothly…
You have a way with me
You have a unique and captivating manner of dancing with me…
Sway with me
Move and flow with me…
Sway (sway) (Sway)
Move (move) (Move)…
I go weak
I become helpless and incapacitated by the music and our dance…
Sway me
Move and rock me…
Sway me now
Move and captivate me right away…
Lyrics © Peermusic Publishing
Written by: Luis Demetrio Traconis Molina, Norman Gimbel, Pablo Beltran Ruiz
Lyrics Licensed & Provided by LyricFind
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