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Cha Cha/Rumba Forward Walk

1 Commence with all the muscular blocks of the body in a centred vertical line of balance, with weight on RF, toe turned out approximately 1/16 of a turn from the track of movement and leg straight. LF held extended backward, without weight, with thigh and foot turned out as full as the dancer's physique allows, using a slight pressure on inside edge of toe, both legs straight. 1 &
2 Commence to settle R shoulder weight, creating a very slight movement of head and body forward, allowing the hips to commence to rotate to the R and the lower rib cage to move to L. This will release pressure from the LF and allow the L knee to commence moving forward. a
3 Continue to settle R shoulder weight, hip rotation to R, and rib cage to L side. LF forward with toe in light contact with the floor and knee flexed, then after the foot has passed under the body, to ball of foot. There will be a gradual increase in pressure of contact on the floor until the heel lowers and the knee straightens, just before the extent of the stride, creating a position of split weight; both knees straight with LF turned out approximately 1/16 to L. 2
4 Commence to rotate hips to L, transfer full weight forward to LF, gaining a position of centre to allow the muscular blocks of the body to be in a vertical line of balance. Retain tone in the extended R leg, with the thigh and foot turned out as full as the dancer's physique allows, maintaining a slight pressure on inside edge of toe. &


1 When walking, the human being achieves balance by using a contra action of the upper body to the moving leg. To achieve this, the opposite arm swings forward in time to the moving leg. In the Latin dances, the arms may also be used in opposition, however it is equally important to be aware of the same side of the lower rib cage moving forward in time with the moving leg. While this achieves the balance and control necessary, it prevents a rotation of the shoulders and provides a feeling of opposition of hip and rib cage and tone, for example, from the L side of the lower rib cage through the extended R leg and turned out RF.
2 While the thighs move on two parallel and separate tracks, the turn out of the thigh and foot of each leg will cause the heel of the forward step to end the weight change in line with the toe of the preceding step. The amount of turn-out of the foot is given as an approximation in order to allow for the dancer's individual physicality, however it is important not to use too much turn out, as this prohibits the true use of the ankle and creates a problem with settling the weight, therefore not allowing a fullness of the rhythmic action.
3 While counting the rhythm of the commencement of the Forward Walk from standing position, the timing of "&" is often used. However, the advanced dancer, after completing a Walk, having achieved full weight and counted "&," will use the timing of "a" to settle the shoulder weight and commence the following Forward Walk.
4 Whether the Forward Walk be taken on one beat or two, the speed of action to the position of split weight will be the same, that is, the 1st half of the beat. When dancing over two beats, it is the completion of the weight change that requires a much slower rhythm, so this Walk is counted "4&a1&a."
5 When a Forward Walk is followed by a weight transference back, it is called a Checked Forward Walk, and key differences occur. See Checked Forward Walk for further details.