Pepito Avellaneda’s Sequence
[00:00] BoxA 4-count pattern where the follower’s position traces out a square (box) around the leader, who rocks back-and-forth inside. starting with leader’s cross1. A foot positioning where the feet are crossed at the ankle. This is part of the basico for the follower, but is not exclusive to this situation nor is it reserved for only the follower. 2. An adorno for the follower 3. Describes the foot relationship where the leader and follower both have their weight on the left foot…; ends with leader’s cross1. A foot positioning where the feet are crossed at the ankle. This is part of the basico for the follower, but is not exclusive to this situation nor is it reserved for only the follower. 2. An adorno for the follower 3. Describes the foot relationship where the leader and follower both have their weight on the left foot…. GiroSpanish “turn”. A sequence, commonly forward ocho -> side-step -> backward ocho, that brings the follower around the leader. Can be done in either direction and admits many variations. (forward ochoA figure where the follower is led to pivot so that the hips are perpendicular, step forward with the inside leg, and pivot again. A foundational figure in Argentine Tango along with the backward ocho. / sacadaSpanish “to take the place of”. Figures where one dancer displaces and takes the place of where the other dancer previously had been. -> side-step / sacadaSpanish “to take the place of”. Figures where one dancer displaces and takes the place of where the other dancer previously had been. -> backward ochoA figure where the follower is led to pivot so that the hips are perpendicular, step backward with the outside leg, and pivot again. A foundational figure in Argentine Tango along with the forward ocho. / patadaSpanish “kick”. A lead’s solo embellishment. A sharp linear kick in the space between the follower’s legs.). Follower continuation in direction of giroSpanish “turn”. A sequence, commonly forward ocho -> side-step -> backward ocho, that brings the follower around the leader. Can be done in either direction and admits many variations.: side-step, forward ochoA figure where the follower is led to pivot so that the hips are perpendicular, step forward with the inside leg, and pivot again. A foundational figure in Argentine Tango along with the backward ocho. / strong twist in leader’s torso. Leader’s half-spin releases torso into cross1. A foot positioning where the feet are crossed at the ankle. This is part of the basico for the follower, but is not exclusive to this situation nor is it reserved for only the follower. 2. An adorno for the follower 3. Describes the foot relationship where the leader and follower both have their weight on the left foot… / follow forward ochoA figure where the follower is led to pivot so that the hips are perpendicular, step forward with the inside leg, and pivot again. A foundational figure in Argentine Tango along with the backward ocho.. Arrested forward ochoA figure where the follower is led to pivot so that the hips are perpendicular, step forward with the inside leg, and pivot again. A foundational figure in Argentine Tango along with the backward ocho. -> ganchoSpanish “hook”. Figures where one dancer’s leg hooks inside / around the other dancer’s leg in a snapping motion.. Stomp reboundStepping with weight-transfer to the free leg, before returning weight to the original leg. Often used in playing with the rhythm.. Finish with follow forward ochoA figure where the follower is led to pivot so that the hips are perpendicular, step forward with the inside leg, and pivot again. A foundational figure in Argentine Tango along with the backward ocho..
Leader’s Adornment
[00:20] AdornmentFollower’s response to the music that was not led by the leader. Examples include pique, lines, and circles. More for side-step to the right.
Idea for expressing slow, dramatic music sections
[00:38] Follower moving torso with open feet.
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