The following faq message explains the mechanics and raison 'd faire of the 'break on 2' and especially Skippy Blair's suggestion to "lift the CPB on Count 1 and step forward (man) on Count 2."  Music is counted starting on Count 1. Body Movement starts on Count 1. Step pattern starts on Count 2 with the break.
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     "I'd hate to disappoint anybody who has spent years learning how to "break" on 2...  The concept of the 2 beat is totally misunderstood. While most people "break" on 2, 99% of them don't understand why.-(pause here while everyone recovers from the shock)

     "Some points to consider...
1) As a Latino who grew up hearing Latin music I had a devil of a time learning how to start on 2. Even with Ron Montez as my first teacher I found myself one day out on the competition floor full of confidence sure that I would win only to look over at Ron on the sidelines giving me the count with his fingers because I was "on" the wrong beat. Talk about wanting to crawl into a hole.
2.) As a professional who mastered breaking on the 2, I worked with the late Bob Medeiros who finally convinced me that the idea of Latin was totally misunderstood by the dance community as a whole, particularly the East side of the Atlantic who set the standard.
3) Medeiros' points: The DEAD beat in Latin is the 2. Latin music accentuates the 1 & 3 not the 2 & 4.

     "The most important part of the dance should be the CHA CHA CHA. That's why they call it Cha-Cha-Cha. The least important part of Cha Cha should be the Break. That's why they don't call it the break dance.

     "Latin dancers don't emphasize feet action -- they emphasize body action. Why would Latin dancers break on 2? Because they
a) roll the hip back on 1,
b) don't emphasize the forward or backward break (rock); 
c) Instead they do: Weight change (close feet) 
     Step 1, Weight change  (close feet)
     Step 2, Weight change  (close feet)
     Steps 3-5, shuffle shuffle (forward/back or side/side). Many only do the entire dance side to side without forward or back breaks.

     "I'll put it in an analogy: Imagine being in a foot race. You're in the starting position. You must wait for the words "ready set GO!" Yet they shoot off the starters' pistol on the word SET. Could you wait for the word Go? Not likely. The same thing happens in Cha-Cha-Cha. The beginner is told to wait for the 2 beat which is a DEAD BEAT.

     "Instead of teaching the emphasis on the BREAK, the best teachers teach (now follow this closely) START on the 1 by rolling the hip.  Notice I said START not BREAK. Everyone HEARS the 1, yet you're told to wait for something you can't hear.   It's easier to count cha-cha-cha as it is played 123 4&.  (S S S Q Q). Again I repeat I didn't say break fwd on the 1.  Many top teachers don't teach:  Fwd back cha cha cha. That is not the cha cha cha. That is a PATTERN
of CCC. (I'm getting tired of writing Cha Cha Cha).  CCC is the body interpreting the rhythm that makes it interesting.

     "Medeiros used to say that when ballroom dancers walked into Latin clubs the Latins used to laugh at them because they look so ridiculous. There are few dance schools in Central & So America. So how do these people learn to dance?
     "They listen to lots of Latin bands where the beat is predominant. (Not like Ross Mitchell playing "TALK TO THE ANIMALS" and calling that a CCC) Before these Latins ever take a step they develop the body action by just standing there moving the hips & knees without ever moving their feet. By the time they hold a girl they look great without having to do any patterns.

     "In summation it's not going forward on 2 that's wrong. It's the concept of starting on 2 that's wrong. Once you are an accomplished dancer starting on 3, 4, or any other beat is acceptable. (look at Waltz - the best ones commence on the 3 yet nobody says they are dancing 3,1,2. In waltz we call it a preparation step.) The idea is to accent the 1and 3 with the hips and the 4& with the feet. If you change the beginner mentality from start feet on 2 to start hips on 1, you wouldn't have half the dance populace dancing Cha-cha-cha on the wrong beat.

     Awaiting all replies.

P.S. while in my writing I flame most of the British dance community. Some of them such as Wally Laird, Mic Stylianos, and Donnie Burns having researched the true origins of Latin music do have a complete understanding of the Latin rhythms."

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