SPECIAL TECHNIQUES

Several special techniques are required for many of the ballroom dances. But while these are meant for the advanced dancer, this discussion will be advantageous to the beginner who plans to pursue his dancing seriously. Knowing these  will give  you a better basis to determine your level of dancing skill, but  should not in any way deter you from dancing in public even if  you cannot apply  the styling techniques as yet. 

The MOST FUNDAMENTAL TECHNIQUES
     Styling techniques are not as alien as some think. They have mainly to do with the dancer's overall look and projection while dancing, as well as syncopation and improvisation. The more fundamental styling techniques which even the beginner dancer has to realize and do properly from the very start are those same techniques which our mothers have always stressed when we were growing up.
     Always keep a relaxed natural body posture. This is achieved with the neutral position of the CPB, assuring a fully balanced stance. The dancer knows this when he ceases to wobble. Also, never force your spine to straighten. This will only give you a back ache. Instead raise your CPB an inch or so.
     Walk in a straight line. To do this, the dancer should lightly brush the knee and ankle of the moving leg on the other knee and ankle, while walking forward and backward. Imagine a straight line and step forward or backward in 4th position.

BODY SWAY
       A slight sway softens the look of dance figures for the Waltz, Foxtrot and other smooth dances, and also assists in retaining good balance in the turns. 
       The general rule is: The body sways in the direction of the foot which starts the music measure. For instance, if you step forward or backward with the right foot on count 1, your body sways to the right on counts 2 and 3. 
       “The sway should be carried from the feet upwards, so that the whole of your body -- legs, hips, shoulders, and head -- is inclined towards the center of the turn that you are making. If a straight line were drawn through your body as this slight sway was introduced, it should divide you equally in two parts.” 

CONTRARY BODY MOVEMENT
       Contrary Body Movement (CBM) is an advanced technique which can be used once you've perfected your balance and movement. It is normally used in the Latin dances, particularly in the Rumba.
       The shoulders will be on a slight  diagonal. On the forward step with the left foot, the left shoulder is pulled back slightly and maintained in position until the 3rd beat. 
       Contrary Body Movement is brought about by turning the body slightly, so that the opposite hip and shoulder are turned towards the moving leg. If the step is forward on the right foot, the left shoulder and hip will be turned slightly forwards. 
       Contrary Body Movement must not be used indiscriminately; it is something which should only be used in a natural, effortless manner. In the descriptions of the figures for each dance, the proper use of Contrary Body Movement is shown where appropriate. It is, however, used on most turning figures in the ‘moving’ dances. 
        Remember that the opposite hip and shoulder should turn as the step is taken, not afterwards, and that the whole body from the hips upwards must be turned very slightly. It is a common fault to break at the waist, turning the shoulders only. 
       You can help the Contrary Body Movement by allowing the unweighted foot to turn inwards very slightly. Actually it will only be pointing the way you are facing, but if you think of it as being turned inwards it will help to produce the Contrary Body Movement. There is a natural tendency to turn the back foot outwards; this must be corrected because it will prevent the hips turning together with the shoulders. 

SHOULDER PULL 
       A simplified version of the Contrary Body Movement (CBM) is the Shoulder Pull, usually applied to the Tango and the Foxtrot. 
       Instead of moving the portion of the body from hip to shoulder together, one need only control the shoulder and pull it forward or back as the step is made. The actual pull is very slight and unnoticeable by the audience. Yet the follower can easily discern this because of her hand on his shoulder or arm in Closed Hold. The basic rules of Contrary Body Movement apply to the Shoulder Pull. 

CONTRARY BODY MOVEMENT POSITION
       There is another form of CBM, called Contrary Body Movement Position. When you step across your body, you will be in CBMP. If you step forward with your right foot across your left, keeping your body facing the front, you will see that the effect is the same as if you had stepped straight forward with your right foot, at the same time turning your left hip and shoulder forward. 
       The CBMP is used on all ‘outside steps’, i.e., whenever you step outside your partner or your partner steps outside you. It is often used in the Tango, especially in Promenade figures. It is also applicable for the Progressive Spiral in the Waltz. 
       The borderline between CBM and CBMP is so narrow that it is sometimes difficult to differentiate between them. 

CUBAN MOTION 
       Cuban Motion is a Latin dance styling for footwork characterized by peeling the weighted foot from the floor. 
       Lift the foot from the heel smoothly  toward the toe. Move the foot in the desired direction with only the toe still touching the floor. Place the foot down in that direction from the toe, then smoothly onto the sole and the heel. With correct and precise foot positions, the peel will produce authentic Cuban Motion. 

CUBAN HIP MOVEMENT
       Cuban Motion also involves the movement of the hips, and is thus also known as Cuban Hip Movement. The Movement is particularly used in Rumba, Mambo, Cha-Cha-Cha, Samba, and  Merengue. 
       Practice Cuban Hip Movement separately and apart from the dance and when the body is ready, the dance and the motion will get together. 
       Stand on the left foot, using the right foot as balance point, touching side right. Using the muscles of the CPB, project the hip to the left and to the right. Notice that the hips can move independently of the feet. Once you can control the movement of the hips, separate and apart from the foot pattern, you have mastered the control that is necesary to dance Cuban Hip Movement.