Technique
Vaiven in 3
Leaders use small torso rotations to lead the side-to-side movements of the follower. This happens at the same time as the stepping back.
Followers is not just changing weight, but shifting off-axis, tapping at the ankle.
Better Sacadas
For better entry to sacadas, start with the follower to the left of the Leader (as opposed to being in front or on the right). This can be achieved by planning the forward steps: closer to Follow’s track, and assert the positioning to the left.
Sequences
Vaiven galore
[(Vaiven in 3) x 3] -> [(vaiven in 4 turnaround) x 2] -> vaiven in 4 (helter-skelter) -> 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…
Pepito c/ Opposite-side sandwich
Start basicoA basic pattern that transfers the couple one step away from the edge, forward into follower’s cross, and return into the edge. Passes through all the weight–feet combinations and useful as a framework to “hang” other movements off of. with backward step, take side-step with Leader’s mini-voleoA flicking / whipping movement of the leg. There are many variations of voleos: they can be done on the floor or in the air, in line or in circle, by the leader and the follower. Voleo / boleo are pronounced similarly in Spanish and there is no agreed spelling.s. Advance to cruxada in 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… system, placing Follower on left (see “better sacada”).
Lead 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. -> lead 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.. (That is, first two parts 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..) PivotRotation of the hips. A basic movement pattern in Argentine Tango that enables most figures. together with a mini-enrosque for the leader, stepping left leg forward to the outside (pinky toe) side of the Follow’s feet. Step right leg up, placing the Follower’s feet in an opposite-side sandwichFigures where a dancer’s foot is captured by the two feet of the companion. (where the feet is trapped by the Leader’s pinky toe). Pause. Breath.
To resolve the sandwichFigures where a dancer’s foot is captured by the two feet of the companion., step back and lead a paradaSpanish “stop”. A figure where the leader signals a pause, by placing the outside edge of his foot to touch the follower’s toes. A pasé usually follows..
Leave a Reply