"Cha-Cha-Cha Boom! Cha-Cha-Cha Boom! is a 1956 American musical film starring Dámaso Pérez Prado, Stephen Dunne, the Mary Kaye Trio, Helen Grayco, Luis Arcaraz and his Orchestra, Lucerto Bárcenas, and Manny López and his Orchestra. It was produced by Sam Katzman for Columbia Pictures and directed by Fred F. Sears and was their immediate follow-up to ""Rock Around the Clock"" (actress Alix Talton appeared in both films). Filming started 14 May 1956. It was also known as ""Cha Cha Cha"". An American record executive (Stephen Dunne) travels to Cuba to find some talent for his record label. ""Year 'Round Love"""
"Cha-cha-cha (dance) The cha-cha-chá, or simply cha-cha in the U.S., is a dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrin in the early 1950s. This rhythm was developed from the danzón-mambo. The name of the dance is an onomatopoeia derived from the shuffling sound of the dancers' feet. In the early 1950s, Enrique Jorrín worked as a violinist and composer with the charanga group Orquesta América. The group performed at dance halls in Havana where they played danzón, danzonete, and danzon-mambo for dance-orientated crowds. Jorrín noticed"
"and his brother Cachao, of Arcaño y sus Maravillas. They conceived a new form of danzón influenced by son cubano, with a faster, improvised final section, which allowed dancers to more freely express themselves, given that danzón had traditionally a very rigid structure. In the 1940s, Dámaso Pérez Prado transformed the mambo from the charanga into the big band format, and took it to Mexico and the United States, where it became a ""dance craze"". Cha-cha-cha (sometimes called cha-cha in the US) was delevoped by Enrique Jorrín in the early 1950s, as a slower alternative to mambo. Cha-cha-cha is a"
"today are based on these accounts. In general, steps are kept compact and the dance is danced generally without any rise and fall; this is the modern ballroom technique of Cha-cha (and other ballroom dances). Cha-cha-cha (dance) The cha-cha-chá, or simply cha-cha in the U.S., is a dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrin in the early 1950s. This rhythm was developed from the danzón-mambo. The name of the dance is an onomatopoeia derived from the shuffling sound of the dancers' feet. In the early"
"recorded. They immediately became hits in Havana, and other Cuban charanga orchestras quickly imitated this new style. Soon, there was a cha-cha-chá craze in Havana’s dance halls, popularizing both the music and the associated dance. This craze soon spread to Mexico City, and by 1955 the music and dance of the cha cha cha had become popular in Latin America, the United States, and Western Europe, following in the footsteps of the mambo, which had been a worldwide craze a few years earlier. Cha-cha-chá is danced to authentic Cuban music, although in ballroom competitions it is often danced to Latin"
"cha-cha-cha, or simply cha-cha, is the name of a dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrín in 1953. This rhythm was developed from the danzón by a syncopation of the fourth beat. The name is onomatopoeic, derived from the rhythm of the güiro (scraper) and the shuffling of the dancers' feet. Styles of cha-cha-cha dance may differ in the place of the chasse in the rhythmical structure. The original Cuban and the ballroom cha-cha-cha count is ""two, three, chachacha"" or ""four-and-one, two, three"". The dance"
"1950s, mambo had become a ""dance craze"" in the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito Rodríguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s and new derivative styles appeared, such as dengue; by the 1970s it had been largely incorporated into salsa. The earliest roots of mambo can be traced to the ""danzón de nuevo ritmo"" (danzón with"
"Cha-cha-chá (music) Cha-cha-chá is a genre of Cuban music. It has been a popular dance music which developed from the Danzón-mambo in the early 1950s, and became widely popular throughout the entire world. Cha-cha-chá is a Cuban music genre whose creation has been traditionally attributed to Cuban composer and violinist Enrique Jorrín, who began his career playing for the charanga band Orquesta América. According to the testimony of Enrique Jorrín, he composed some ""danzones"" in which the musician of the orchestra had to sing short refrains, and this style was very successful. In the danzón ""Constancia"", he introduced some montunos"
"will bend, allowing the hips to naturally settle into the direction of the weighted leg. As a step is taken, a free leg will straighten the instant before it receives weight. It should then remain straight until it is completely free of weight again. Cha-cha is one of the five dances of the ""Latin American"" program of international ballroom competitions. As described above, the basis of the modern dance was laid down in the 1950s by Pierre & Lavelle and developed in the 1960s by Walter Laird and other top competitors of the time. The basic steps taught to learners"
"Colombia, Peru, Panama and Ecuador. In Cuba during the 19th century the ""contradanza"" became an important genre, the ancestor of danzon, mambo and cha cha cha. Haitians fleeing the Haitian Revolution of 1791 brought to the Cuban version a Creole influence and a new syncopation. The ""Engelska"" (Swedish for ""English"") or Danish ""Engelsk"" is a 16-bar Scandinavian folk dance in . Its name comes from the adoption in Scandinavia of English country dances and contra dances in the early 19th century. In Denmark the description ""Engelsk"" was used for both line and square dances of English origin. Only due to"
"Danzón-mambo The danzón-mambo (also known as ""danzón de nuevo ritmo"") is a subgenre of Cuban dance music that marked the transition from the classical danzόn to the mambo and the cha-cha-chá. It was also in the context of the danzón-mambo that the Cuban dance band format called charanga reached its present form. The danzón-mambo was created by the musicians and arrangers of Antonio Arcaño's charanga, Arcaño y sus Maravillas, which was founded in 1937 (Orovio 1981:324). According to Santos (1982), The main forces behind Arcano's mambo were the Lopez brothers, Orestes ... and Israel (the great ""Cachao"") ..., who did"
"driving force behind one of Cuba's most prolific charangas, Arcaño y sus Maravillas. As members of the Maravillas, Cachao and Orestes pioneered a new form of ballroom music derived from the danzón, the danzón-mambo, which subsequently developed into an international genre, mambo. In the 1950s, Cachao became famous for popularizing improvised jam sessions known as descargas. He emigrated to Spain in 1961, and moved to the United States in 1963, starting a career as a session and live musician for a variety of bands in New York during the rise of boogaloo, and later, salsa. In the 1970s, Cachao fell"
"evolving into a blended, more contemporary forms. Ballroom studios teach lessons on many Latin American dances. One can even find the cha-cha being done in honky-tonk country bars. Miami has been a large contributor of the United States’ involvement in Latin dancing. With such a huge Puerto Rican and Cuban population one can find Latin dancing and music in the streets at any time of day or night. Some of the dances of Latin America are derived from and named for the type of music they are danced to. For example, mambo, salsa, cha-cha-cha, rumba, merengue, samba, flamenco, bachata, and,"
"(and Apple Blossom White)"". The later (1955) hit ""Patricia"" was a mambo/rock fusion. Mambo of the Prado kind was more a descendent of the son and the guaracha than the danzón. In the U.S. the mambo craze lasted from about 1950 to 1956, but its influence on the bugaloo and salsa that followed it was considerable. Violinist Enrique Jorrín invented the chachachá in the early 1950s. This was developed from the danzón by increased syncopation. The chachachá became more popular outside Cuba when the big bands of Perez Prado and Tito Puente produced arrangements that attracted American and European audiences."
"Mambo (dance) Mambo is a Latin dance of Cuba which was developed in the 1940s when the music genre of the same name became popular throughout Latin America. The original ballroom dance which emerged in Cuba and Mexico was related to the danzón, albeit faster and less rigid. In the United States, it replaced rhumba as the most fashionable Latin dance. Later on, with the advent of salsa and its more sophisticated dance, a new type of mambo dance including breaking steps was popularized in New York. This form received the name of ""salsa on 2"", ""mambo on 2"" or"
"of the típica were over. Mambo is a musical form and dance style that developed originally in Cuba, with further significant developments by Cuban musicians in Mexico and the USA. The word ""mambo"" means ""conversation with the gods"" in Kikongo, the language spoken by Kongo slaves taken to Cuba. Modern mambo began with a song called ""Mambo"" written in 1938 by brothers Orestes and Cachao López. The song was a danzón, a dance form descended from European social dances like the English country dance, French contredanse, and Spanish contradanza. It was backed by rhythms derived from African folk music. The"
"basic footwork pattern of cha-cha-chá (two, three, cha-cha-cha) is also found in several Afro-Cuban dances from the Santería religion. For example, one of the steps used in the dance for the orisha Ogun uses an identical footwork pattern. These Afro-Cuban dances predate the development of cha-cha-chá and were known by many Cubans in the 1950s, especially those of African origin. Thus, the footwork of the cha-cha-chá was likely inspired by these Afro-Cuban dances. In 1953, Orquesta América released two of Jorrin’s compositions, ""La Engañadora"" and ""Silver Star"", on the Cuban record label Panart. These were the first cha-cha-chá compositions ever"
"development led to more syncopation, which eventually led to the danzón-chá, nuevo ritmo, cha-cha-chá, pachanga and mambo. From the 1940s to the 1960s danzón and its derivatives were highly popular in Cuba, with several truly fine charangas playing most days of the week. Orquesta Aragón kept up an exceptionally high standard for many years, but the danzón itself gradually dropped out, and is now a relic dance. Danzón has never ceased to influence Cuban musicians, and it is reflected in many popular Cuban music genres, in Cuban Latin jazz, salsa, songo and timba, the latter building upon the charanga orchestration."
"samba, paso doble and jive as well, but it was the composition of the rumba which was critical. After further visits to Cuba in the early 1950s, when Doris Lavelle and James Arnell accompanied Pierre, the cha cha cha was added to make the five Latin American dances that are still the basis of teaching and competition today in the international dance community. On Monsieur Pierre's death in 1963, his colleague Doris Nichols commented: ""The Latin American dancing world was so influenced, fostered and built up by him that the names of 'Pierre' and 'Latin American' became virtually synonymous."" Monsieur"
"""modern mambo"". In the mid-1940s, bandleader devised a dance for a new form of music known as mambo music, taking its name from the 1938 song Mambo 1980 song a charanga which had popularized a new form of danzon known as danzon mambo. This was a syncopated, less rigid form of the danzón which allowed the dancers to more freely express themselves during the last section, known as the mambo section . From Havana Pérez Prado moved his music to Mexico, where his music and the dance was adopted. The original mambo dance was characterized by freedom and complicated foot-steps."
"congas and bongoes. The new ""Mambo"" included a catchy counterpoint between the trumpets and the saxophones, that impulsed the body to move along with the rhythm, stimulated at the end of each musical phrase by a characteristic deep throat sound expression. Prado's recordings were meant for the Latin American and U.S. Latino markets, but some of his most celebrated mambos, such as ""Mambo No. 5"" and ""Que Rico el Mambo"", quickly crossed over to the United States. Chachachá is a genre of Cuban music. It has been a popular dance music which developed from the Danzón-mambo in the early 1950s,"
"flavour. Semba has been danced in the 1950s in Angola. In the 1990s, when the actual kizomba music got more and more popular, Angolan semba dancers started to adapt their semba steps according to the tempo and flavour of the Kizomba beats. The Kizomba dance is a couple dance from which many styles such as, tarraxinha and Urban kiz derived from. Cape Verdeans immigrants who moved to France in the 1980s, they were exposed to compas music in the 80s, they blended it with a traditional Cape Verde style called the coladera, thus creating cola-zouk, which is similar to kizomba"
"Chakacha Chakacha is a traditional music and dance style (a ""ngoma"") of the Swahili people of coastal Kenya and Tanzania, originally associated with weddings and performed and watched by women. In the late 20th century, musical groups such as Mombasa Roots, Safari Sound Band and Them Mushrooms have adapted this style to afropop music. The women dress in very light, transparent clothing and have a belt around their waists for ease of movement. Tanzanian ladies, especially around the coastal areas, are very good at this dance. It is also somewhat associated with Taarab, another type of music style adapted in"
"the sounds of local wind, percussion and string instruments. Jaime Torres is a famous Argentine/Bolivian charango player. Originating in Santiago del Estero, this folk music is accompanied by Spanish guitars and bombo legüero. The name originates from the word """"chacra"""" (""farm""), as it was usually danced in rural areas, but it slowly made its way to the cities of that area. It is one of the few Argentine dances for couples where the woman has an equal opportunity to show off. Accordion-based Chamamé arose in the northeastern region (provinces of Corrientes, Formosa & Misiones) an area with many settlers from"
"use of arms, legs, head and hands. Augie and Margo were still dancing 50 years later (2006) in Las Vegas. Some of New York's biggest mambo dancers and bands of the 1950s included: Augie & Margo, Michael Terrace & Elita, Carmen Cruz & Gene Ortiz, Larry Selon & Vera Rodríguez, Mambo Aces(Anibal Vasquez and Samson Batalla), Killer Joe Piro, Paulito and Lilon, Louie Maquina, Pedro Aguilar (""Cuban Pete""), Machito, Tito Rodríguez, Jose Curbelo, Akohh, and Noro Morales. Mambo (music) Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and"
"New Jersey known to be Union City. Among his numerous compositions are: Danzones: Cha-cha-chás: Enrique Jorrín Enrique Jorrín (Candelaria, Pinar del Río, December 25, 1926 - Havana, December 12, 1987) was a Cuban charanga violinist, composer and music director. He is considered the inventor of the ""cha-cha-chá"", a popular style of ballroom music derived from danzón. At an early age, his family moved to the El Cerro neighborhood of Havana, where Jorrín was to live for the rest of his life. At the age of 12, he began to show a particular interest in music and decided to learn the"
"does not start on the first beat of a bar, though it can start with a transfer of weight to the lead's right. Nevertheless, many social dancers count ""one, two, cha-cha-cha"" and may find it difficult to make the adjustment to the ""correct"" timing of the dance. The Cuban bolero dance originated in Santiago de Cuba in the last quarter of the 19th century; it does ""not"" owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning"
"the traditional ""charanga"" percussion lineup of ""pailas"" and ""güiro"". Also, the ""paila"" player began to use a cowbell in the final section (Santos 1982). This final section, at first called ""nuevo ritmo"", later came to be called ""mambo"". Out of the ""danzón-mambo"" came both the ""mambo"" and the ""cha-cha-chá"". The ""mambo"" would subsequently become a genre played mainly by American-style big bands, and as such, did not pose a threat to the ""danzón-mambo"". But, in the face of the sudden overwhelming popularity of the ""cha-cha-chá"" in the 1950s, the ""danzón-mambo"" began to disappear. However, a convention arose of playing the"
"Enrique Jorrín Enrique Jorrín (Candelaria, Pinar del Río, December 25, 1926 - Havana, December 12, 1987) was a Cuban charanga violinist, composer and music director. He is considered the inventor of the ""cha-cha-chá"", a popular style of ballroom music derived from danzón. At an early age, his family moved to the El Cerro neighborhood of Havana, where Jorrín was to live for the rest of his life. At the age of 12, he began to show a particular interest in music and decided to learn the violin. He then pursued musical studies at the Municipal Conservatory of Havana. He started"
"is based on Latin music. Latin music has long influenced American popular music, and was an especially crucial part of the development of jazz. Modern pop Latin styles include a wide array of genres imported from across Latin America, including Colombian cumbia, Puerto Rican reggaeton, and Mexican corrido. Latin popular music in the United States began with a wave of dance bands in the 1930s and 1950s. The most popular styles included the conga, rumba, and mambo. In the 1950s Perez Prado made the cha-cha-cha famous, and the rise of Afro-Cuban jazz opened many ears to the harmonic, melodic, and"
"cha-cha-cha, jive, and rumba), it is the slowest. This ballroom rumba was derived from a Cuban rhythm and dance called the bolero-son; the international style was derived from studies of dance in Cuba in the pre-revolutionary period. The modern international style of dancing the rumba derives from studies made by dance teacher Monsieur Pierre (Pierre Zurcher-Margolle), who partnered Doris Lavelle. Pierre, then from London, visited Cuba in 1947, 1951, and 1953 to find out how and what Cubans were dancing at the time. The international ballroom rumba is a slower dance of about 120 beats per minute which corresponds, both"
"such as mambo, cha-cha-cha and others reinvented for orchestral bands in the 1950s and early 1960s. The band has its origins in the community of Barra de Santa Ana, Tabasco. The first members of the group were Juan Bustos, Silvestre Mercado, Andres Terrones, Armando Espinoza and Sergio Celeda who had known each other since primary school. Carlos Colorado met this group of friends in 1955 and proposed the formation of a group. The initial name of the band was Conjunto Blanco y Negro but was soon changed to Tropical Santanera. The name Santanera was chosen because it is phonetically similar"
"The mambo dance that was spearheaded by Pérez Prado and was popular in the 1940s and '50s in Cuba, Mexico, and New York is completely different from the modern dance that New Yorkers now call ""mambo"" and which is also known as salsa ""on 2"". The original mambo dance contains no breaking steps or basic steps at all. The Cuban dance was not accepted by many professional dance teachers. Cuban dancers would describe mambo as ""feeling the music"", in which sound and movement were merged through the body. Professional dance teachers in the US saw this approach to dancing as"