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As with all Latin dances, the key to making the dance look great is in
the styling and in the Cuban motion. The professionals can make even the
simplest patterns look outstanding due to their styling. Achieving the
soft hip action is most important. Here's a way to think about it. First,
think of the dance in terms of slows and quicks. The foot should be placed
on count 1 of the slow, but do not place any weight on count 1 of the
slow. Most beginners move weight too quickly onto the slow step. The second
half of the slow step assumes the weight as the same knee straightens,
and, as the same knee straightens, the same hip will rise, creating the
desired hip action. A helpful verbal queue is Quick, Quick, Slow -
O; Quick, Quick, Slow - O. By saying "Slow - O,"
you might be able to remind yourself not to transfer weight until the
second half of the slow. Hips move as a result of the bending and straightening
of the knees, NOT by a conscious swinging of the hips. As a knee bends,
the same hip drops. As a knee straightens, the same hip rises. This can
be practiced by standing in place and alternately bending and straightening
the knees.
As with all Latin dances, the footwork is ball-flat
for every step, never using a heel lead. Some teachers say, "place
the foot, then move weight to it, place the foot, then move weight to
it." Every step should be taken with pressure on the inside edge
of the ball of the foot, with the knee flexed. As the weight is taken
onto the foot, the heel should lower, the knee straighten, and the heel
of the opposite foot should be released, as the hips move softly sideways
in the direction of the stepping foot. This hip movement is used in
almost every step of Rumba.
Beginners almost always dance on the wrong beat
of the music. The break step should occur on the second beat of the
measure, not on the first, third, or fourth beat of the measure. As
the music is slow, it is almost impossible to become a great rumba dancer
without disciplining yourself to count the music and to dance strictly
in conformance to the tempo.
Understanding connection is important. Connection
in either leverage or compression (as appropriate for the figure) must
be maintained at all times. The lead generally entails the building
of compression or leverage. A mistake is for the lady to "fail
to connect" or to initiate a figure prior to the development of
the compression or leverage lead.
Gentlemen: never let a free hand dangle or
fall below your waist. If you open up and you are moving away from your
partner, allow your arm to flow out, away from your body, but keep it
above waist level. As you move back toward your partner, bring your
arm in, across your body.
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