As you can see from the dance diagram, the steps are arranged in such a way that an optimal portrayal of the feeling of "1, 2 cha-cha-cha" can be achieved on the ice. This implies that most steps are short, and although the steps are not very difficult from a technical point of view care should be taken that the dance is skated and not walked. Moreover to accentuate the Latin American character quite a lot of hand-in-hand holds are included where the partners change positions by passing each other. This makes the dance more complicated that the usual dances at the bronze level, and from that perspective the Cha Cha 2000 can be seen as a challenge to acquire good body co-ordination. Finally the hand-in-hand positions give plenty of room for individual interpretation of arm and hand movements.
The dance starts with a progressive on count 1 and 2, followed by a left forward outside edge (step 3) where the free foot is kept slightly away from the skating foot on the first cha, brought back to the heel of the skating foot on the second cha, and stretched behind again on the third cha, so that a fully extended free leg position can be obtained. On step 4 both partners make a cross roll where the right forward outside edge is hold for two beats on the musical count of 1 and 2. On the first cha the man makes an open RFO three turn, while the lady performs a slide chassČ. On the second cha both partners bring the free foot close to the skating foot, and on the third cha away from the skating foot (in which direction is optional). After the three turn of the man both partners face each other in closed position, and from step 5 on to step 19 a 'both hand-in-hand position' is recommended. After the open Mohawk of the lady which is skated on count 1 and 2, she keeps her free foot in front on the first cha of step 10 (LBI), close to the skating foot on the second cha, and again in front on the third cha. The free foot positions of the man match those of the lady while he is skating his RFI edge.
Step 19 is a shallow forward inside edge where the man and lady skate on opposite foot in a 'one hand-in hand position'. The free leg movement is the same as in step 3 to accentuate the cha-cha-cha rhythm. From step 19 up to 27b both partners perform the same steps, but still on opposite feet. In this section of the dance the lady passes in front of the man twice, whereby they cross each other's tracings as if they are skating from one railroad track to the other. Care should be taken that they do not separate too much from each other, otherwise the 'one hand-in-hand positions' cannot be resumed properly. After the slip step (27a) both man and lady bring both feet together, which allows for a smooth transition to continue the dance on a LFI edge for both partners in kilian hold (step 27b). The slip step (27a) is done on the first cha. On the second cha the feet are brought together, but the weight is already on the left foot for both partners, which facilitates the transition to the left forward inside edge (step 27b), where the free foot is kicked forward on the third cha. The last steps of the dance are skated on a semicircle and the insertion of a slight touch down in the middle of each edge of 2 beats allows for a good expression of the cha-cha-cha feeling.
Inventor: Peter P. Moormann
First Performance: 's Hertogenbosch, Sportiom, The Netherlands, 2000
