Silver Cha Cha

Silver Cha Cha Routine 1

This routine builds off the first, adding Rope Spinning and taking the first set of Cuban Breaks toward the audience in LSP for added effect. The strong rotation of the Natural Top is followed up on by a Reverse Top, ending the routine with one of the more playful moves in Cha Cha, the Chase.

Figure Commencing Alignment Timing
Fwd Lock, RLR Facing DW against LOD 4&1
Open Hip Twist Facing DW against LOD 234&1.234&1
Alemana Facing Wall 234&1.234&1
Rope Spinning, ended to side Facing Wall 234&1.234&1
LF Cuban Break to LSP Facing LOD 2&3&4&1
RF Cuban Break, facing partner Facing LOD 2&3&4&1
New York to LSP Facing LOD 234&1
Lady Spiral Action to Aida, with ending 1 Facing LOD 234&1.234&1.234&1
Spot Turn to R Facing LOD 234&1
RF Time Step, with Guapacha Timing Facing LOD &34&1
Cross Basic, with Guapacha Timing Facing LOD &34&1.&34&1
Underarm Turn to Left Facing against LOD 234&1
10-15 Natural Top Facing DC against LOD 234&1
Closed Hip Twist, ended in Contact Position Facing Wall 234&1.234&1
6-10 Reverse Top Facing Centre 234&1
Opening Out from Reverse Top Facing DC against LOD 234&1
Hockey Stick Facing Wall 234&1.234&1
Chase Facing DW against LOD 234&1.234&1
234&1.234&1
Repeat from Open Hip Twist    

1) The Rope Spinning must be adjusted slightly to end at the proper alignment. Between steps 7 and 8 the Man will turn 1/4 to L to face the Lady, and the Lady will face the Man in turn, to take steps 8-10 as a Side Chasse directly toward the Wall.
2) The Natural Top must end at the correct alignment, in order to continue with the routine Closed Hip Twist toward the audience
3) Although Aida ending 1 is given in the routine above, you should choose between ending 1 or 2 depending on which looks better on you

Silver Cha Cha Routine 2

This routine is no more difficult than routine 1, but it has a different overall design and uses a few different figures. The Cuban Breaks are arranged in a different manner, and ending 2 is used for the Aida. Here, the Time Steps are used to their full potential, where at first the Man and Lady dance the natural opposites of each other, when all of a sudden the Man does something (choreographed to appear) unexpected, and the Lady responds the following measure. During these periods where the Man and Lady dance different steps, the Lady's timing is given in parentheses.

Figure Commencing Alignment Timing
New York to LSP Facing LOD 234&1
Hand to Hand to LSP Facing LOD 234&1
LF Cuban Break to LSP Facing LOD 2&3&4&1
Split Cuban Break to RSP and LSP Facing LOD 2&3.4&1
Aida, with ending 2 Facing LOD 234&1.234&1.234&1
Three Cha Chas in LSP, ended facing partner and releasing hold Facing LOD 2&3.4&1
LF Time Step, with Guapacha Timing Facing LOD &34&1
RF Time Step, with Guapacha Timing Facing LOD &34&1
Lady RF Time Step with Guapacha Timing, Man LF Cuban Break Facing LOD 2&3&4&1 (L: &34&1)
Lady LF Cuban Break, Man RF Time Step with Guapacha Timing Facing LOD &34&1 (L: 2&3&4&1 )
Lady RF Time Step with Guapacha Timing, Man Spot Turn Facing LOD 234&1 (L:&34&1)
Lady Spot Turn, Man RF Time Step with Guapacha Timing Facing LOD &34&1 (L: 234&1 )
Cross Basic, with Guapacha Timing Facing LOD &34&1
Chase Facing against LOD 234&1.234&1
234&1.234&1
4-9 Three Cha Chas Forward Facing against LOD 2&3.4&1
1-2 Open Basic Facing against LOD 2.3
Three Cha Chas Back, ended in Closed Position Facing against LOD 4&1.2&3.4&1
Natural Top Facing DC against LOD 234&1.234&1.234&1
Closed Hip Twist, ended in Open CPP Facing Wall 234&1.234&1
Repeat from new York to LSP    

1) Although Aida ending 1 is given in the routine above, you should choose between ending 1 or 2 depending on which looks better on you.
2) The Natural Top must end at the correct alignment, in order to continue with the routine Closed Hip Twist toward the audience