by Charles Joseph Smith
(Originally written on October 30, 2005)
On October 30, 2005, after the Dancing Illini held its 2005 Dancesport Competition one day earlier at the Illini Union of the University of Illinois at Urbana-Champaign, I was treated to a "Golden Post-Competition Cha-Cha Lesson" by Andrew and Michelle Tate.
Rising through the ranks quickly as amateur dancesport competitors, they turned professional when Andrew and Michele decided to open up a new dance studio in their hometown in Indianpolis, Indiana...after they graduated from the University of Illinois. (Moreover, I am also a University of Illinois alumnus.)
Andrew and Michelle showed a class of about 50 students (which included me) a walk-through of an International cha-cha routine that was close to gold level. The routine involved a Turkish Towel figure that had guapacha timing, and a Opening Out to Fan that also had a guapacha timing. I am starting to like this type of timing in the cha-cha more than the regular rhythms in that dance.
As a ballroom dance lover for 10 years, I feel that these new cha-cha rhythms will help me enjoy the character of the cha-cha dance much more. And I know that this will be enjoyable to you, too.
WHAT IS GUAPACHA?
What is guapacha timing?
Simply put it, the guapacha is a rhythmic variation, usually occuring more in International-style cha-cha than in American rhythm cha-cha, where you hold on the first half of the "2" beat and then resume rhythm on the second half of the "2" beat.
Compare each of these cha-cha rhythms. Almost every dancer who had danced cha-cha-cha on the "2" beat---whether it is International or American---whether it is done socially or competitively---had remembered this basic timing for the cha-cha:
2 3 4 and 1, 2 3 4 and 1, etc.
This rhythm occurs in most of the basic cha-cha movements like the crossover breaks (or New Yorkers), switch turns (or spot turns), forward and backward basics (or basic movements), hand-to-hand sequences (or fifth breaks), and cross-body leads.
But with guapacha timing, the feeling of rhythm is now more syncopated when you do such basic movements. The result is this below:
(2) and 3 4 and 1, (2) and 3 4 and 1, etc.
As you can see, the parentheses on the "2" beat means that you do not do any foot movements at that point (you "hold"), and resume foot movements on the "and" before the "3".
The other basic cha-cha rhythm almost everyone knows is the three cha-cha-cha rhythm (or triple-lock rhythm), with a preparatory two-step rock preceding it. The timing is this below:
2 3 4 and 1 2 and 3 4 and 1, 2 3 4 and 1 2 and 3 4 and 1
However, in the three cha-cha-chas (or triple locks) in guapacha rhythm, also with a preparatory two-step rock, there is more syncopation:
2 3 4 and 1 (2) and 3 and 4 and 1, 2 3 4 and 1 (2) and 3 and 4 and 1, etc.
Just like in the basic cha-cha rhythm listed above in guapacha, the parentheses on the "2" beat means that you do not do any foot movements at that point (you "hold"), and resume foot movements on the "and" before the "3".
I believe that the guapacha creates more suspense and more tension in the cha-cha dancing, and hence more exciting.
HOW TO PRACTICE THE GUAPACHA
As a piano player for 20 years, and a ballroom dancer who took 6 years of ballroom dance lessons with the Dancing Illini (as well as seeing professional ballroom dancers on TV), I love to improvise and choreograph. Guapacha avoids the ennui of cha-cha dancing by constantly varying the rhythm.
Unfortunately, there are some cha-cha dancers out there still, that never done the guapacha timing and are quite nervous to do this timing.
Here are some pointers:
(1)
If you are not familiar with dancing on the "2", I suggest that you remove all mentality to dance on the "1" and think of beat "2" as the stronger beat, not the weaker beat. If you had danced the mambo, where most Latin dance teachers focus on the "2" beat, this will make adjusting to guapacha rhythm in cha-cha easier.
(2)
A helpful thing is to just simply listen to the cha-cha music...not just the bass line....but also the percussion in the music. Songs like Cuban Pete (by Tito Puente and the Latin All-Stars), one of my most beloved old-time social cha-cha numbers, will be enough.
(3)
Most cha-cha music will feature Latin percussion like the cowbell and the famous "cha-cha-cha" shakers (or maracas).
(4)
Some cha-cha music has a backbeat on the drum set that accents the beats 2 and 4 on every measure. This will help you find beat 2. Phrasing in most cha-cha music focuses on 1-measure and 2-measure patterns; this will also help you maintain the "2" beat.
(5)
The new cha-cha music known as techno cha-chas will feature a strong bass drum beat on every beat. This is probably the best cha-chas to practice your guapacha on. The best songfor this is Let's Get Loud (Jennifer Lopez). When doing the cha-cha, remember this mantra: if you don't move your feet when you hear the drum on the "2" beat (the first half), and then resume foot movement on the second half of "2", then you are doing the guapacha correctly.
(6)
If you want to do the guapacha on both beats "2" and "4", it is possible to do. The rhythm will be almost like that in the Syncopated New Yorkers.
A Syncopated New Yorker rhythm goes like this....
2 and 3, 4 and 1, 2 and 3, 4 and 1, etc.
Guapachas on both "2" and "4" are almost like this in this same New York rhythm.....
...and 3 4 and 1 2, and 3 4 and 1 2, etc.
This guapacha rhythm is what I call syncopated guapacha, because it uses a lot of weak beats (mostly the half-beats).
This type of guapacha takes more practice but the result will be worth it. You will make your partner happier and a lot of dance observers are going to watch your exciting guapacha maneuvers.
Note: Avoid doing the guapacha on beat "4" beat alone....it will almost always throw off the regular cha-cha rhythm so much that you won't dance on time.
HOW TO LEAD THE GUAPACHA WITH A PARTNER
I won't cover every cha-cha figure that can be led using guapacha because you can use guapacha in not just the basic figures but also the intermediate figures (e.g., the Aida in International Cha-Cha). I will only show several cha-cha figures and how they can be led....
Guapacha Fifth Breaks in Shine Position
(....and 3 4 and 1, and 3 4 and 1)
This will be a visual lead. The guapacha will be initiated by the leader. If the follower does not get the guapacha on the first "1" when the leader starts the guapacha, it is still all right for the follower to do the regular cha-cha rhythm (2 3 4 and 1), and the follower can do the guapacha the second time.
Guapacha Crossover Breaks
(....and 3 4 and 1, and 3 4 and 1)
Usually, the leader will make the first crossover break turning R, and the follower turning L. Before the first break, usually coming after the 3rd step of the cha-cha-chassé (usually a side step), the leader makes resistance by way of opening palms vertically as if the leader is making a stop sign (this happens on the "1"). That should happen if the dancers are in closed hold. If in shine hold, this will be a visual lead. The visual lead is the leader standing tall on the "1" after doing the 3rd step of the cha-cha chassé....either before the crossover breaks or during it. If the follower does not get the guapacha signal on the first 5 steps, she can pick it up on the next 5 steps.
Triple Lock With Guapacha
(4 and 1....and 3 and 4 and 1)
If you are doing the regressive triple lock and the follower the progressive triple lock, the leader should put more resistance on the follower's arm that has the same side as the lead foot (e.g., the follower's right arm at the same time as the follower's right foot becoming the lead foot).
If you are doing the progressive triple lock and the follower the regressive triple lock, the leader should put more resistance on the follower's arm that has the same side as the lead foot (e.g., the follower's left arm at the same time as the follower's left foot becoming the lead foot).
All of this is a signal for the follower to hold that lead foot for 1 1/2 beats.
Spot Turns With Guapacha
(...and 3 4 and 1, and 3 4 and 1)
Assuming the leader does the first spot turn to the L, and the follower the R, the leader creates the "stop sign" resistance before the first "and" before they both turn.
After the "1", the leader does the same "stop sign" resistance to set up the next spot turn to the leader's R (follower's L).